Ableton Live Beginner Tutorial | Jon Merritt | Skillshare
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Ableton Live Beginner Tutorial

teacher avatar Jon Merritt, Born To Produce

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Course Introduction

      7:27

    • 2.

      BTP AB Lesson 01 Making A Beat In Ableton

      12:51

    • 3.

      BTP AB Lesson 02 Making A Chord Progression In Ableton

      13:25

    • 4.

      BTP AB Lesson 03 Better Sounds In Ableton

      7:25

    • 5.

      BTP AB Lesson 04 Plugin Effects In Ableton

      10:30

    • 6.

      BTP AB Lesson 05 Sidechained Compression In Ableton

      8:16

    • 7.

      BTP AB Lesson 06 Pad And Arp

      7:57

    • 8.

      BTP AB Lesson 07 Drum Loops And Audio Editing

      10:37

    • 9.

      BTP AB Lesson 08 Clips and Grooves In Ableton

      13:21

    • 10.

      BTP AB Lesson 09 Mixing Up The Melody

      6:36

    • 11.

      BTP AB Lesson 10 Bare Bones Arrangement

      14:48

    • 12.

      BTP AB Lesson 11 SFX Arrangement

      10:10

    • 13.

      BTP AB Lesson 12 Automation In Ableton

      12:00

    • 14.

      BTP AB Lesson 13 Recording In Ableton

      12:10

    • 15.

      BTP AB Lesson 14 Comping Audio In Ableton

      18:09

    • 16.

      BTP AB Lesson 15 Timing And Pitch Correction

      7:59

    • 17.

      BTP AB Lesson 16 Processing Vocals And Guitar

      21:01

    • 18.

      BTP AB Lesson 17 How To Get Effortless Mixes

      4:00

    • 19.

      BTP AB Lesson 18 Track Mixdown

      23:48

    • 20.

      BTP AB Lesson 19 Mastering

      12:40

    • 21.

      BTP AB Lesson 20 Ableton Session View Part 1

      8:04

    • 22.

      BTP AB Lesson 21 Ableton Session View Part 2

      8:42

    • 23.

      BTP AB Lesson 22 Sound Design Pluck (from lesson 3)

      9:04

    • 24.

      BTP AB Lesson 23 Sound Design Rolling Bassline (from lesson 3)

      6:33

    • 25.

      BTP AB Lesson 24 Sound Design Pad (from lesson 6)

      7:26

    • 26.

      Lesson 25 Sound Design Arp (from lesson 6)

      9:45

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About This Class

Hi, I'm Jon Merritt from Born To Produce. On this course you will learn to make music in Ableton Live, by following along step by step, and making a complete track from start to finish. On the way, you'll learn everything about Ableton and music production to be able to make your own music, in any genre you like.

To listen to the track you will make, please watch the 'Course Intro Video'

This is an entirely practical way to learn how to use Ableton to make music, it's loads of fun, and above all it's really rewarding, as each lesson you complete gets you closer to having a complete track. You go through and make the track in exactly the same way you will do when you make your own music, so the skills you learn here can be taken and directly used when working on your own future projects.

By the time you have completed this course, you will be able to...

- Easily understand and navigate the Ableton interface

- Import sounds and make beats

- Write chord progressions & melodies (even if you have no music theory knowledge)

- Download and install incredible free instruments to use for your Ableton projects

- Use clips & grooves in Ableton

- Arrange tracks to keep your listeners engaged

- Record vocals and guitar in Ableton, including microphone setup and recording tips (all audio is provided)

- Process recorded audio to sound profressional, and mix well in your projects

- Mix a track so it sounds balanced, spacious and energetic, and understand the key attributes you need in order to repeat this in your own tracks

- Use 'session view' to do live performances in Ableton

- (optional) Although we provide all the nessessary sound in the workfiles, we also provide videos showing you how each sound was made from scratch in the free instrument Vital, for those who want to understand how to design their own sounds.

Much, much more is covered in the course, these are just the highlights.

All versions of Ableton 11 are supported

All audio, presets, MIDI, and Ableton Live Project files are included in the workfiles.

Meet Your Teacher

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Jon Merritt

Born To Produce

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Level: Beginner

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Transcripts

1. Course Introduction: Hey everybody. Learn how to produce music in Ableton by making this start to finish the damage. You see. So even if this is not your preferred genre, the benefits of making a track step-by-step and affiliate practical process is by far the best way to learn to produce music and ableism is also incredibly rewarding and fun. As in each lesson you create something new and keep building on the skills he picked up in the previous lessons. So we start at the beginning of the queue making process by adding elements to our projects and creating a basic beats. Learning how to navigate the apes and interface will repeat these basic steps with a few drum so you get used to doing it over and over again. Once we have the foundational beats will then make a chord progression annual learn just how easy it is to come up with your own chords by following a few simple and repeatable steps that work every time in any projects. When you have a simple chord progression, it is then very easy to create other musical parts of your track like baselines, pads, and arpeggios, and much more, which we'll do as we progress through the truck. By this point, we have created content for a track and a number of different ways. And we're feeding much more confident about using a Watson's interface. So it's time to start using the built-in effects to enhance the sounds we have made and to add depth to our track. You'll learn to use processes like EQ, reverbs and even side-chain compression, all shown with explanations of what and why we are doing something, and also how to repeat these essential processes when working in your own projects. Now, during this initial sort of content creation process, we'll cover many really cool aspects of Abel's inlet using the built-in clips to make extra drum beats. How to customize these beats, how to apply grooves enables them and extract group data from other beats. You'll also learn about using audio loops, how to edit audio housing, edit midi and much more. Now by this point, we're about halfway through the process and now is the time that we start arranging our truck into a proper song. Say here you will learn how to structure your tracks to keep the listener engaged with your music will cover a few important topics like crazy in contrast between the sections of your truck and how to use tension and release to make your songs much more engaging. So we're almost there with the truck, but now we have a full structure. I want to record a vocal and some guitar. So dual learn how to get great vocal recordings even with cheap, it is possible. And the guitar recording is directly into a boss and say that's really simple. Now, I'm aware that some of you won't be interested in recording, Say we design this section so you can skip it entirely and still complete the tutorial. But for those who do want to record enables and this will give you all the basic steps you need. You'll also learn how to process that raw recorded audio so it will fit happily in your truck housing comp, multiple takes together to get one really great performance and helps it make corrections to the performance as well. Okay, So we are this far n and the only thing left to do is to make some final adjustments and mix it all together. So you'll learn how to make mixing easy for yourself and the various processes required in order to do it. So you'll be volume balancing, panning, EQ and compressing and saturating the elements of your mix to get that final 20 percent out of it. Then just a simple final limits at the end to get the maximum volume level and we're all good. So that is the main bulk of the tutorial, but there is still more. When I talks about adding musical parts earlier, we actually use a synth could vital, which is completely free and available for all platforms to make sounds like the pluck, the pad, the base, and the arpeggiator. Say in the main tutorial, we just use the preset so it's really easy for beginners to follow along. But we also includes separately the videos where we design those sounds from the ground up for anyone interested in sound design. Also, as the bulk of this tutorial is done in the arrangement view of angels. And we also have two separate dedicated lessons on housing navigate. You Session View to jam with or for live performance. Also, covering health record midi and vocals on the flight. I think anyone can see the benefits to learning by actually making a track all the way through from start to finish. It's hands down the most enjoyable and rewarding learning experience because nothing you learn is arbitrary. Every skill you learn in the context of the music production process comes through when you're working on your own project. All right, thanks very much for watching. I'm going to play the final mix we export from the last lesson of the tutorial. So this is the track you'll be making a hope to see you in the course. Thanks very much for watching. We do have strong novel on the wrong. Now we go in, down on roll the die and down back from the damage. You see. Even wanna see here the goals when we started. Except to us, we met the governor, gave that. We got a long way to go. Will you remember the stuff? Stuff that you see? One is C with me. So far. Again, then stops and starts. 2. BTP AB Lesson 01 Making A Beat In Ableton: So Ableton, like all other DAWs, can appear a little daunting at first, but don't worry, what you learn here will become second nature as he progressed. Now, I wanna get making a beat right away, but it's very important you understand the Abel's in house to Workspaces. It has live made, which is what you see when you first load it up. And it has arrangement mode, which you get z by either clicking up here or you can hit the Tab key on your keyboard to switch between the two that we will cover live made later in the tutorial and how to record with your midi keyboard or control if you have one. But the arranger mode is where we will start building our track, as it's really the simplest way to start making music in a museum. Now very quickly, if this is your first time in a Wilson and you have any audio issues come up, the options, preferences. Okay, so the ODA tab, and on the audio device, if you don't have a dedicated audio interface, just use the default driver. It should already be selected, but if you have an audio interface, you select that from the list. Also gati file folder and just make sure Create analysis files is turned off just as not able. So in creating laser extra unneeded files. So let's get some audio in CSR projects. And generally speaking, I always start with the kick drum just to get the beat going and then I'll build the rest of the track on top. So it kind of acts like the foundation of our truck. Now, Ableton does come with a load of samples, is you can get c by clicking samples in the media tab. Just say no, you can show or hide the media tab by clicking the little arrow up here. And as you can see, there are absolutely loads of samples that come with Abel's in everything from kicks to bass sounds, leads an S effects and all of that. So in order to make finding kicks a little bit easier, let's just go up to the search bar and type in kick just to filter out all of the kick drums and see auditioned example, we simply click on it and it will play automatically. Now if the volume of the playback is a little bit cloudy, can achieve, change that if you come to the master channel down here, this little blue bar, if you click and drag, that is the volume for the auditions sample. So just makes it a bit more bearable if I was too loud, say once he found a sample that you like, there are two ways to use. An audio sample enables him. You can use it as pure OJ by dragging it straight onto an audio track, which is okay in some circumstances, but also a bit limited for things like drums, safe for all of our drums, we will actually add them to what is known as a midi track. So audio and midi tracks work slightly differently to each other. But don't worry, this will become clear as we progress. So let's break this down into steps. Step 1 to get your audio samples loaded onto a midi track is select the midi track, but you can see it just slightly change color when you click on it. Step 2 is once you've found the sample that you want, Double-click it to load it onto the midi track. And now don't click and then drag it onto midi track that only works for audio. And after you have double-clicked it, what you'll see is the truck name is updated and we've got our kick showing in the sampler down here. Don't worry about this for the moment. Just know our sample has been loaded onto the track. So before we get into step 3, Let's just zoom in a bit. Say in a person zooming is really easy. Just come up to you the timeline and you'll see the magnifying glass. And if you click, you can sort of scroll left or right, but you can also drag down, which will zoom in. And I want to zoom in, see bars 5 and 6, say Bar 5, 6. And step three is to add a blank multi-segment. To do this, we just click in the timeline, but make sure we're clicking on the actual kick track. And I want to draw from Bar 5 to bar six. So we're just making a selection and then we come up to create AND gate, insert empty midi clip. Or you can use a keyboard shortcut Control or Command on a Mac plus shift plus m. And when we do that, we can see that we have created a midi clip here. And we got this window down here called the Piano Roll Editor. And this is where we draw in the notes that represent our audio samples. In this case, the kick is very easy. All you do is double-click and you'll see a note. Now if you don't hear anything when you click on a sample or when you click one of the notes in the piano roll, just activate the preview button here. And whatever you do in the window, you'll actually get some audio feedback on. Say, I'm going to drag this kick down to S3. S3 always represents the natural pitch, the sample. You can change the size of the note by clicking the end of it and just dragging. Also be aware that you can change the grid settings in this window. Make this a bit bigger if you right-click and I advise that you select under adaptive grid medium. Now adaptive just means that the grid will also adapt depending on how far zoomed in or out you are. And once you've selected this, you should really never have to fiddle with assessing again. So you can also double-click, but hold on a second click, and you will then automatically have the option to re-size the middle chunk. You can hold Control on your keyboard or Command on a Mac. So you copy a midi notes or you can actually select Draw mode. To draw in a note. Honestly, I find it just double-clicking is actually just as easy. Now in order to play this back in Ableton, we just click in the timeline where we want to set the play head, say basically your starting point. And then we hit the spacebar to play back what you've made. You can also hit the play button up in the transport panel. So all good so far. But at the moment this isn't looping and it's also a little bit slow. So first off, let's just change the speed. Very easy today we'll just come up to the BPM counter up here for the moment is on 120. And we're just going to click and drag this up to one to five, which is a bit more in line with the sort of style of this track. So just a little bit faster. By the way, if your project is also scrolling when you press Play, you can actually turn that on or off with this button here. I actually prefer to have it off just so it's not always moving around, but you can choose to have it scrolling if you want. Now let's look at assessing the loop brace. So the easiest way to set the loop brace is just to make a selection. It doesn't actually matter what track you do this on, can be on any of the tracks. And once we've made the selection of where we want the leap brace, we just hit Control or Command plus L. You can also click the endpoints of the loop brace to re-size. Or you can actually click in the middle to move the whole thing. And so you activate or deactivate the loop race is this little button up here. And I'm going to play back. It just loops around, around. Alright, so that is great, but it's just a little bit boring at the moment. Say let's add a clap and a hat, repeating the same steps. But this time we'll use samples from the work files instead of the samples that come with ableism. So if you bought the course, the samples will be in the zip, downloaded and unpacks onto your computer. If you're watching the free video on YouTube, you'll find a link in the description to download the free work files, which has everything you need to complete the first four lessons. So in order to see the samples in a BLOSUM, we need to come over to the Media tab. Mean he's come down AND gates you add folder, navigate to wherever you downloaded and unpack them, go into it. So go into the workforce and then you want to select trojan of the stars audio and then click Select Folder. Now you'll see when you scroll down, we'll have that folder, hair children of the stars audio. When I click on it. Well, at the moment only see the kick and that's because I've got the kick filter still ons. I won't see you. Just close that and then we'll see all of the samples are loaded up. So you've got a kick. Good hats, and we're going to clap. So before we go any further, let's just actually clear up our projects a little bit. I don't need these audio tracks at the moment, so I'm going to select them and I'm going to hit Delete on my keyboard, select and hit Delete. And as we're going to add a clap and a hat, I want to midi tracks a very easy to create a new midi track just right-click and go to Insert track. I'm also just going to re-color these because these are all drums. I want them to be like the same color. So I'm just going to right-click and select yellow. I just always have my drums as yellow, which makes the projects a bit easier to sort of understand once you've got lots of stuff going on. And again, let's go through the steps of load in sample. So I'm going to select my midi track. I'm going to pick the sample I want. So I'm going to use superclass, in this case, double-click it, and now it's loaded onto a truck. We just need to create a blank midi segment, which is step three. So I'm going to make the selection, making sure that this selection is on the track that I want to add a blank multi-segment. So, and then gay creates an insert empty Miniclip. Now I'm going to do step 4, which is draw in the notes. I'm just going to expand the piano roll window a bit. And you can see we're a bit too far, zoomed out here. So the same way that we zoom in with the magnifying glass in the timeline applies to the piano roll except when you click, you drag left or right to zoom in or out. So again, we want to add on news to S3 and the snare in house music pretty much always falls on the second beat and the fourth beat, not the first beat. So that 1.21, that represents beat 2. So I'm going to double-click, just add my snare in there. And also on beat 4, which is represented by 1.4. So I'm just going to add that in. Let's play that. Okay, great. Starting to sound like a house beat, but just a quick tip when it comes to volume levels for your projects, which is also known as gain staging, what we want to do is always turned down the kick to like minus 4. So you do that over here, this fader on the kick track, you can just click and then drag down and get that 2 minus 4. And then what we do is we use the kick as the volume reference for everything else that we add to the truck. Say when we add something like the clap, we're going to turn down the clap so it's balanced with the kick rather than turn up the kick to match the volume of the clamp. This way we'll always keep our project at a good volume level. Let's just do that. I'm going to play it and then I'm just going to turn down the clap, see sort of balance with the kick. See at the moment is way too loud. Say something like that is fine for now, we'll obviously be making lots of changes to volume and stuff as we go through the course. But we're just getting it somewhere in the boop. Ok? All right, Let's just go through these steps one more time with the hat. So let's select the midi track that step 1, step 2, double-click the sample you want. In this case we use closed hat 08, Double-click it. Step three, draw in the selection. And then we can create a blank midi segments or hit Control or Command on a Mac plus shift plus M to create the blank midi segments. And step 4, draw in the notes. So again, let's just zoom in a bit here to S3. And the hat, or the main hats in house music pretty much always falls on the offbeat. Halfway in between B1 and B2. We're just going to add the n. And the same for all the other bits as well. Always going on the offbeat. A was that makes the beats nice and obvious by sort of coloring them slightly differently or shading them slightly differently. And now when we play it, we've got something that sounds a bit more housing. So let's just quickly volume balance the hats is little bit out. Say somewhere in the ballpark that is absolutely fine. And the very last thing that I want to do is just show you that it's really easy to replace a sample if you want to change something in ableism. In this case, we're going to replace the current kick with the one from the workflows. In order to do this, we just need to double-click on the kick channel. And we'll see that our sampler has pops up and all we have to do to replace it. And we can even do this while it's playing if we want C, find the new sample, and then click, drag it onto the sampler window. Let go. And we can see we've got our new kick in there. And it's as easy as that. So you can literally just click and drag, click and drag and just try lots of different samples while your truck is playing to audition them and see how they fit in your mix. All right, that's it for this lesson. In the next lesson, we're actually going to look at making a chord progression. Don't forget to save your projects. And I look forward to seeing you in the next lesson. 3. BTP AB Lesson 02 Making A Chord Progression In Ableton: Hey everybody, Welcome back. All right, So very quick bit of housekeeping. Just got this blue multi-segment hair, so I want that to be yellow. All I'm going to do is right-click on it and select yellow to keep it in line with everything else. Now, one of the most important things you can learn how to do as an artist or producer is be able to make a chord progression in not only sounds good, but it gives you a musical structure that can help inspire many other elements of your truck, like the baseline and Melody. Arpeggiator is even vocals and all sorts of other stuff. So if you ever get stuck when making music, just come up with a chord progression, which is really easy to do. I'm going to show you how to do that and then use that as inspiration to build your truck. So Ableton doesn't come with any sort of called helper tools, like for example, captain chords or scalar to. But even if you did use them, is really important that you understand the basics of how a chord progression is created. So you can then modify an existing chord progression or just come up with something of your own. So I'm going to teach you the most basic steps required to make a simple chord progression. Literally, anyone can do this. And in a Woodson, it's even easier to say first we need an instrument to be out of plane. Now, a person comes with a few different instruments which he can get in the media tab by clicking instruments. And then we'll gates the instrument rack, brigade, see piano and strings. And if I just scroll down a bit, we'll see we got a grand piano now you can actually just auditioned these. By the way, if you want the sample to stop repeating, you actually have to hit the spacebar on your keyboard. Pressing the stop button here doesn't actually work for stopping the playback, just remember that. So instruments can only be loaded onto midi tracks. They don't work on audio tracks. So let's actually creates another midi track. Just right-click, insert midi track. While we're here, I'm just going to color this a sort of pinky red color. That'll be the color of most of the instruments in the truck. And just the same as with loading audio sample. In order to load an instrument, we first want to select the midi track, then come over. And whatever instruments it is. In this case, we're going to use the grand piano, just going to double-click it. And that will load it onto the midi track. Once again, what you need to create a blank multi-segment. So we're just going to make a selection on the grand piano track, hit Control Shift M to create a blank midi segment. And we'll see our familiar piano roll down here. And on it. We have our grand piano sound. So now it's time to get into some super basic music theory. I'm going to give you steps that you can follow every single time. And for those of you who already sort of understand a bit about music theory, stick around as this can still be useful. But obviously I'm gonna keep things are super basic for those completely new to this. So step 1 of rising a chord progression is to pick a scale. And the first rule is to only use the notes from that scale. Now a scale is a set of notes that have a particular harmonic relationship to each other. Now the most common scales you've probably heard of our major or minor scales. And E can use pretty much whatever lesser that you want. In this case, for this track, we're going to use the E major scale. Step 2 of the picture scale in Ableton, we can use the scale. Help us say over here, you'll see this window and we got scale. And if we click here, we can pick which letter we want. So we want E as this is going to be E major and is automatically selected major, that's the first one, but you can choose a different scale type hair. I kind of advice that begin is probably just stick the major and minor for now, but whatever you can experiment as fine. And then we just have to click the scale button to activate the helper. Now, as you can see, suddenly all these like colored lines of popped up, say what this represents. All the colored lines are the notes that are in the E major scale. Any ones that aren't colored on notes that fall outside of the scale. So we won't be using those notes. Now we can make this even easier by coming up in the piano roll and clicking the scale button. A case a, what that's done is actually removed any of the notes that aren't in the E major scale, okay, so we're only left with notes that we can use. Alright, so step three is to make a basic triad. Chord is the easiest thing ever. Just literally pick the root note of the chord, which is always the lowest note. And say we're going to use E for the first chord as we're in the E major scale. Say let's find that. So E3 is going to be our root node. Double-click to our notes. Then to make a chord, we just miss a note in the scale and add another note. Then we miss a note in the scale and add another name. And then we go to code. We can select all three of these and just make them a little bit longer. So that's our first chord. And then we can just repeat step three on any notes in the scale to make more chords. Now, first off, we need to make this multi-segment a little bit longer as assignee one bar long at the moment. So if we come over to the length section and we just click where it says one and drag up B1. I have this as four bars long. Just change that so it says four, and then we can get adding different chords. So let's have our second chord on B2 here, starting on C Sharp. So I'm going to click an ad in a notes. I'm going to miss a note in the scale at another misnomer in scale at another. Simple as that. So let's just play what we have. Oh, and I forgot we got to actually extend our loop region a bit. So I'm just going to bring that down for a second. And let's just set a loop region sets over four balls, say from bars five to nine. And we'll select our drum parts, various different ways to expand these across the whole four bars. We can literally just grab the brackets and just look them over and over. That's absolutely fine. We'll also do the same with a piano. And now we've got four bars. Okay, so good. Let's get back to work in on the actual melody. Say on the third bar of this progression, Let's have a chord starting with G sharp. Say I'm gonna come over Jordan, No G-sharp. This is our root node, which is going to zoom in a little bit so you can see all the names that we miss a note in the scale at another, miss a note in the scale, add another note is that symbol. Okay, So it sounded all right, say far. Now we need the last chord in our progression. And it's important that the last chord resolves on a musical level back to the first chord. So for this, we really need to know the code numbers. So let's just zoom out a little bit and I'll explain. It's really simple. The code starting with the note of the scale, ie, in this case, is always the one chord. Doesn't matter which Octavian or could be an E4. If the root note is on an E is always a one chord, and then it just goes up from there. So E is one chord. A chord starting with the root notes of F-sharp will be a two chord, starting with a G-sharp like this one here. This is a three chord, four chord, 567 chord. And then it just repeats around again, so one called SQL, etc. Now the reason that the numbering is important is that 95 percent of the time a chord progression will end on a four chord, which would be an a in this case, or a five chord, a, b. So in this truck we are starting with a one chord and we're going to end on a five chord. Say this last quote here is going to be a five chord. So let's just figure out what that is. So we just counts up. So E is one chord, 2345, say B will be the root node of our five chord. Let's just draw that. Then we miss a note in the scale at another note, Messina and the scale at another net. And then we have a five chord. Let's just play that. Okay, so we've got a very basic four bar chord progression. But I want to make this a little bit longer. So let's just change the length of this again. And we're going to go from full bars up to eight bars. Now just to give us a bit more room, I'm just going to hide this window here called the Info view. So we can come up to view and just click info. And I'll get rid of that just to give us a bit more space. And also I'm just going to make in our project window everything a bit longer. So let's just zoom out a little bit. Set the loop region over eight bars. Again, we're just going to select our drums and move them over so they're looped for the whole eight bars and we're going to expand our piano as well. Okay, great. Now let's get on and do the sort of second half of this progression, which is basically going to be a repeat, or at least in many ways it would be a repeat of the first half. So we'll start back on the one chord here. So I'm just going to actually copy that across a Select the first chords, hold Control or Command on a Mac, and copy that over. So just say don't get lost. I'm just going to play this. And then we're just going to decide what notes are, what chords we want in the second heart. So after this repeat of the one chord, we're going to have a five chord again. So I'm just going to copy that over to bar six. Then we're going to have a three chord again. So again, we can just copy it. And that's going to go just one beat before bar seven. And that's going to lead into the sixth chord. So again, we can just copy that from there, and that's gonna go on bar seven. So let me just quickly play that so far. And then the last chord is going to be another five chord, but we're going to have this an octave lower, so I'm gonna copy that. And that's just going to start at the root nodes of b, but an octave lower than the other five chord. All right, let me just zoom out so you can see the whole thing and I'll just play it. Okay, all sounded good, but just note, this came about through experimentation with the chords. It didn't just suddenly pop into existence, kinda like you see me doing it now it'll just seems to happen very quickly. But when I came up with the original chord progression, it's a bit of time to experiment, try different chords in different places, find out what works and what didn't. And eventually, after a bit of time, you end up with a cube regression like this. Say don't worry if it's not just suddenly happening. It does take time to mess around and try different things out. But you know, there are only seven possible tried calls that you can use. And you're only going to end a chord progression on a four or five chord. And you're going to start it with a one-quarter, say, Oh, you gotta do is really pick the two chords in between all three chords. If you're going to mix it up a little bit like this bit here. Now also, if you are really struggling with any of this or you just want to take your melody skills much further. You should definitely check out our music theory for EDM produces tutorial as it takes you from the absolute basics all the way through to being able to create your own chord progressions are melodies that is way more to writing really emotive melodies that keep the listener engaged with your music, whether that is feature-based or singer-songwriter. So definitely check that out if you want to unlock your music producer skills. Now, the last thing I want to do is just make this a little more interesting than just having the chords full on the beat. So let's move every second chord to an offbeat. So very simple. Let's go in, see B2. I'm just going to select that code and move it to the offbeat before where it was. And the same with the chord on. But for now let's just scroll along. And then the chord on bar six, and then the very last chord. All right, so let's just play what we got. Just ufuncs it up a bit. All right, that's it for this lesson. But remember, even though this sounds super simple, the cobe regression you have made here is going to serve as the foundation for all the other musical parts of this truck. The pad, the baseline, the arpeggiator, the vocals, that guitar will all come from what you did here. This really is the first sort of major hurdle in making your own tracks. Is that important? Say Well done. Now it's just a case of fleshing out the track, arranging it, record the vocals and guitar, and then mix it all together. Don't forget to save your work. Thank you very much for watching guys and girls see in the next one. 4. BTP AB Lesson 03 Better Sounds In Ableton: Hey everybody, Welcome back. So one thing that I personally found slightly disappointing about aids in, but to be fair, is pretty much the same in all DAWs is the lack of a great up-to-date virtual instrument. But thanks to a synth designer called map title, that is no longer a problem as he made Honestly, I think one of the best since the UK currently available and it's 100% free, even if you weren't no further in this tutorial, I highly recommend that you grab it and you will need it for this tutorial, it's really easy to get just search for vital synth and it should be the first link. Once you get into the site, just scroll down and get to the get vital section. If you want to pay some money towards it, you will get extra presets, but the actual synth itself is completely free and fully working. So go through the steps to set up an account. I already have an account. Say I'm just going to sign in and just select the operating system that you need. Download it. Once downloaded, just install it. And my recommendation is just to install the VST 3 version. It's like the full proof method and hit Install. Say once it's installed, either restart a Wilson or if you've left a wasn't open gates, the options, Preferences, Plugins, and then just click on rescan. Once you've done that and we go Ovid, see plugins, you find that vital audio is now been added and we've got the vital instrument right here. Now what we're gonna do is actually replace our grand piano. So we're just going to select the piano track as per normal, and then we'll double-click vital. And it will automatically overwrite the previous instrument. But obviously it will leave all of our music on there, our chord progression. Now you could of course, load this onto a new midi track if you wanted to. But the piano, to be fair as just a little bit naff in comparisons what we're about to get with vital, say if I play it at the moment, I'm just going to turn it down a little bit. It's not gonna sound great because it's just using the default patch in vital. So we'll change that in just a second. Just say no if you do close vital or any other instrument and you want to get back to it, it needs come down, see this sort of window down here. And you've got this tab which represents vital. We just click on the little spanner icon and that will show the instrument. Now if you don't see this tab down the bottom of this window down here, say for example, you see the midi editor and you want to get to that area. You just have to come to the channel and double-click and then that will appear. And then you can click on the spanner icon. Now once you have the instrument open, you can actually hit Control Plus Plus P to hide or show the instrument on a Mac, that's Command plus Option plus b. Now as there are going to be people watching this tutorial that have literally never used any kind of synthesized before. I'm going to keep things really simple and stick to just using the presets I made. However, if he bought the course, I actually go through and make all of the sounds in this tutorial from scratch. So you can see and learn how they made these videos can be found in the work files in the extra videos folder. One last thing before we get started is I'm not going to explain how the synth works either. We've actually made a free tutorial, say just google vital since the tutorial. And if you scroll down a little bit, look for the tutorial from born to produce a can watch it straight on YouTube. Or if you come down to the organic search results, it should be the first link here from bolds produce.com. And he got all of the videos that will teach you how to use vital. I just want to keep this tutorial as streamlined as possible and focused on new learning helps make music in a wasn't, rather than getting bogged down with sound design, but the info is there if you wants it. Now if you want to mess around with the presets, invite Sue, just click up here. And this will show you all of the presets that vital comes with. Now I've got a few more books, I've got the paid-for version, so you have a few less, but you can still mess around with them. But I have provided presets in the work files specifically made for this gene. Load. A preset from an external source, just come up to the hamburger menu and we'll click Open external preset, and then just navigate to wherever you've got the tutorial on your computer, goes to the work files, vital patches, and we're going to load BTP pluck, children are the stars to just double-click play. That's so much nicer than that, sort of slightly and FP&A. Now the next thing I want to do is get the baseline n. And then in the next lesson we'll start looking at using plugin effects to make this all sounds a bit better. So if the baseline, I want to create a new midi track. So I'm just going to right-click, insert midi track. I'm just going to quickly color it. Let's color it to the pinky red again. And I'm going to use vital again. So let's select the channel and double-click vital. Once again, we are going to load a preset. So again, the hamburger menu open external presets. So again we go to the work files, vital patches, and we're going to double-click BTP base. Children are the stars. Can also audition the sound on the keyboard at the bottom there. Alright, so that's fine. But obviously we need some music to actually play or some notes to play the bass line. What we're gonna do is we're going to copy down our main melody. Remember I said that we're going to make all of the different parts out of this main melody. So that's what we're going to start doing here, say by holding Control or Command on a Mac, clicking and dragging that Midea segment down, that will copy it to our base channel. And then I'm going to double-click it and just give ourselves a little bit more room. And now we're going to keep the baseline very simple. We're just going to have a nice rolling bass line going all the way through. So for that, what we want to do is use the root notes of all of our code. So what I'm gonna do is I'm actually going to select the top two notes of every chord and delete them, leaving only the lowest note in each court. And then we're going to expand these outs, say they are full length and then them individually because they're all sort of have different positions. Some of them are off beat, so they'll all be different lengths. Otherwise you could grab them all in one go and do this, but that's not going to work in this situation. So there we go. Now let's play it just a little bit loud. So let's turn it down. Super easy. And you see what I mean by already having that musical part, we can make all these other parts sake that become even more clear as we go. Let's say just going to do a bit of housekeeping, just going to rename these. So I'm going to right-click and rename. I'm going to cool this vital plot. And I'm going to call this vital base. Just remember if you want to see how these two sounds were created in vital, go and check out the videos in the extra videos folder in the workforce. Thanks very much for watching. See you in the next one. 5. BTP AB Lesson 04 Plugin Effects In Ableton: Hey everybody, Welcome back. All right. So we have a few elements in our truck. But it's by no means complete and we have a lot more to add before it really resembles a proper structured track. But I want to show you how to start adding plugins to your tracks in Ableton and introduce you to some of the basic but essential processes like EQ, side-chain compression, which you might get two in this lesson and reverb. Now we'll start off with the easiest effects in Ableton, which is reverb. Reverb gives a sense of spaciousness and depth to any elements you add it zoo, it's the easiest to add in a boson as the default projects comes with a reverb plug-in already set up and ready to go as a global effects. So we have to do is basically choose how much of any given element you want to send to it. And you'll get reverb on that particular element. So let's start with the clap. I'm just going to solo the clap. And you'll notice on the channel we have these two sliders here which you can change. And if I want to add reverb to this cup, all I gotta do is turn up this first one, so I'll just play it. And you can hear the reverb on there. Now what's happening here is the signal of the clamp is being sent to the reverb channel. And this reverb channel has this reverb plugin on it. The more of the clap signal I send through to the reverb, the more reverb you're going to hear. Now if we go to the actual reverb plug-in, and if you haven't seen this yet, just double-click on the reverb channel and this will pop up. And the most important assessing that we have really for beginners especially is just the decays I'm so if you want see how a longer reverb then obviously turn up the reverb time. And if you want to have a really short one, we turn down the reverb time. So we're going to set this roughly around 76. Like that length seems to sort of suit this truck. And honestly, if you are sort of new to all of this music production stuff, I would literally leave it at that and not go into any more detail. You can, of course, experiment if you want to, but the stock reverb with a slightly increased decay time is absolutely fine and sufficient for this truck. All right, so let's add some reverb to the hat as well. So I'm going to un-solo are clap and solo r hat. And all we gotta do is turn up Send of z. Like having that much reverb is way too much. We want to be much more subtle than that. Probably somebody like that. Let's have a listen in the mix. So I'm just sort of balancing out the reverb now on the Cloud and on the hat. And we don't see much. Somewhere around there is absolutely fine. We can always change this later if we want. Alright, so that's reverb on the clap and the hat. Now what about the rest of the channels? Well, the instruments that we've got, the pluck and everything already has reverb and delay on it from vital as he can hear. And also the bass sound has also got some reverb on it as well. But you can hear when I hit stop, so we don't need to add any two. That's the kick. While the kick is kinda special, we don't really want to add reverb or any spatial effects to the kick as we want it to remain as upfront and powerful as possible in the mix. Sort of explain a bit when we add reverb to an element in our track, it not only adds a sense of spaciousness, it also has the effect of making that element appear further back in the mix, literally like it's further away from us. And the opposite is also true. So the less reverb or less spaciousness it has, the closer it sounds to our ears. And as the kick is such a powerful driving element and needs to really cut through the mix at all times. I'm not going to add reverb to in this case. Now, you can add reverb to a kick, but also you must be very careful not to make your mix sound muddy. Say my advice, if you're new to music production is just use reverb very minimally on your kicks if at all some tracks will seize it more than others. All right, so that's it for reverb now wants to show you EQ or equalization as it's known. And filters, and filters are just basically another form of EQ. And they simply allow us to change the balance of frequencies of any given sound. Now if you remember a cool, the reverb, a global effects, thus because it has its own effects channel. And when it sets up like that, we can choose with these dials here to add reverb to any of the other channels in our track. So the EQ that's going to be added as a local effects, which means that it will be specific. Just the one channel. Say, I'm going to click on the clap channel. Because this is what we're going to add some EQ and filtering to my knees. Come to our media browser, comes the Audio Effects. And we're going to see EQ and filters. And then we've got the different plug-ins that are available to us. Now if you go further and expand, what you'll see here is all the different presets, the available for that particular plugin. We're not going to use a preset. We're going to start from scratch and making sure that we've got the clap track selected. We're going see grab the autofill set and just drag that down here and add it to the effects rack. I'm also, you're going to grab the channel EQ and D, the same thing and just drop that after the filter. And mostly just going to solo the clap for now. Maybe just for a second, we're going to turn down the read up just a little bit as well. Okay. Now we will be going into more depth about filtering and EQ later on in this tutorial. But for now, I want you to learn one of the simplest and most common EQ techniques, which is removing unwanted low frequencies from a sound to filter out the low end is very simple. We first need, so you just select the high-pass filter mode, which is this little button right here. And then we just change the filter frequency to suit. As you can hear. Like the lower it goes, the more frequencies you here. And as I raise it up, the more of the low frequencies are being cut out. And actually you can see this reflected here in the channel EQ as well. Safe in C, when I have the sort of filter fully open as it's known. We've got all of the frequencies been shown that are in the clap. And as I raise this up, you can see that we only have one high frequencies. So what we wanna do is just filter out any of these sort of noise down here. It's just like this base noise or base rumble. And the only thing we gotta be careful of is that we're not removing any of the clap sound, which sort of makes up the main body of the sound. Say we don't want to take away any the mid-range frequencies. Like somewhere around There's perfects is just taken out that sort of little bit of low end that you can see there. Say that's absolutely fine. And it's as simple as that. With the channel EQ plug-in, what we're gonna do is actually boost some of the frequencies. Say this is another really common technique. And what we do is we just boost some of the frequencies of a particular element to make it stand out compared to the rest of the mix. Very simple today what we're gonna do is use the mid control here. And we're just going to boost that up. And as you can see, we're getting this sort of bell-shaped here. For now, we're going to boost up about sort of five dBs. Okay? This is just to sort of find out where we want to boost in them are going to back it off a bit. But in order to find out we want to have it around about 50, 60 b's. And then we're going to click here, drag up or down. And you can hear that the frequency sort of just changes. As I move up, the sound gets brighter as I move it down, we kinda boosting the mid-range frequencies. I'm going to turn this up even a bit more cheese makers, bit more extreme. Okay, so now I want to play this with the mic. So I'm going to un-solo the clap. And I'm just gonna do a sort of filter sweep to find the frequencies where the clap ready sort of suddenly jumps out compared to the rest of the mix. For me that's definitely there. And like I said, I'm going to back off the mid now because boosting it by 60 b's or eight dBs is pretty intense. Say something like 2.9 dBs is going to be perfect. Just enough to give the copper little bit more presence in the mix. We can also bypass and effects by clicking the little orange button there. You can hear when it's activated, it just sounds a bit more present than it did before. So that's perfect. And when it comes to Vk, That's like the second most common technique, say that is the basics of EQ. We've cuts out of the clap to just tidy up the sound. And we've boosted sum of the frequencies to just make the clap a bit more present compared to the rest of the mix. In the next lesson, I'll show you how to get the base and the pad to sound like they're sort of glued to the track using side-chain compression, which also helps the kick remain nice and big in the mix. All right, that's it for this lesson. Thank you very much for watching. I'll see you in the next one. 6. BTP AB Lesson 05 Sidechained Compression In Ableton: Hey everybody, Welcome back. All right, so in this lesson we are going to look at group channels enables him and we're going to add a side chain compressor to the baseline. So let's tackle group the channels first. So if we think about how the channels are currently sets up in ableism, we have our individual elements, the kick, we clap the hat, et cetera, and the OJ signal that comes out of these, going straight to the master channel. If we have a group track, we add basically a middle step to the signal path. So instead of it going from, say, the clap straight to the mass out, it will go from the clap to a group channel, and it will then go from the group channel to the master out. So it's just adding that extra step in-between. Pretty simple to understand. But what this allows us to do is add an effect to the group channel, instead of adding it to multiple different elements of the mix, which saves us time in setting up that plug-in, and also saves as processing power. Also, you can group tracks just to tidy up your project of it. So actually let's just do that now. So I'm going to select the kick on the hold Shift on my keyboard. And I'm going to click on the closed hats, he selects all of them. Then we just right-click and go Group Tracks. And we can see we've now got up the top here, this group track here. And if a onesie, if I click this little button here, I can actually minimize them. Oh, and it just really tidies up our project's Window and opposite, just to expand that you can click the little bus and again. All right, so that's a very basic overview of group channels. Now what I want to do is have a group channel setup with side-chain compression on. So if I decide I want a particular element of my mix half side chain compression, I can simply change the routing so it goes through that group. Now, very quickly, side-chain compression is a way of using one element of your mix. In this case, we'll use the kick to turn down another element of your mix in this truck. That'll be the baseline, at least for now and maybe the pad later on. Now this will become more obvious as we progress a, let's first of all get the group setup. Say first of all, I want to add the group to the vital base channel. So I'm just going to select that right-click and group tracks at you would, should name these as well. So I'm just going to rename it side chain, and I'm also going to color it blue just so it's a different color from everything else. I'm mostly just going to quickly rename Group 1. Group that can stay the same yellow color napalm. Say That is step 1 of setting up side-chain compression in your projects. So just for example, if I solo this group over here is the base, and if I un-solo it up, see we have everything. And if I mute it, of course, the base is muted because the base is basically going from here into here, and then finally getting reached out through the master out. So just adding that middle step. Just very quickly as well. If you ever want to add something to a group is very simple. The literary just click on an element and just drag it down so the line comes within the group and then you can see actually gets added to the group annual say remove things in the same way, so you just grab that and move it back up. We're not going to add the voids will plug to the side chain group that was just for an example, to show you how easy it is to put things in or out of a group. All right, step two is to add a compressor to the effects rack. So again, make sure you've got your side chain group selected. We're gonna go to Audio Effects dynamics because air compressor is a dynamic effects and we're going to just click compressor and drag it down into our effects rack. Now we will explain more about compressors later when it comes to processing the vocals and guitar that we're going to record. But just understand a compressive basically turn stuff down on a temporary basis. When we use the side chain inputs, it uses the signal from another source to trigger when to turn stuff down. Like I mentioned, we're going to use the kick to turn down the base on and say in order to do that, step 3 is to activate the side chain 70. To click on this tiny little down arrow, we need to activate the side chain and we need to select the input. So this is the side chain input. Click on this and we want to use the kick. And lastly, incite change settings. We're just going to de-select EQ. Just say the compressor listens to the full frequency range of the kick. All right, that is the side chain setup. Now step 4, what I'm going to do is give you the cheat settings. So if you are new to this and it's all a bit confusing, just literally copy these settings every time in your interests when setting up side-chain compression. And you'll be good to go. First of all, we set the attack to as low as it goes, which is 0.01 milliseconds the ratio, it can be anywhere between 34. So you could just leave it on its stock setting of four to one. That's fine. And in this truck we're going to set the release as low as it goes. But honestly, anywhere between 0 and say, 50 is about normal for side-chain compression on the release. And very, very rarely would we ever go above 100 milliseconds for side-chain compression? We're going to just set this light right down about sort of 1700 milliseconds. Now, all that's left to do is to set the threshold levels. The bit that we different for each and every track that you make because it depends on the volume levels of a, the kick and also the baseline. But do we have to do is grab this blue line, which is the threshold and basically drag it down. Now let me just play this so we can see what it's doing as we're going. Say what you can see that they use little grey blocks are the kick and the orange line, sorry, it's disappearing is how much the volume of the baseline is being reduced by now, I'm actually just going to mute the pluck for a second. Just have the baseline and the drums playing. And I'm just gonna make this much more extreme and you'll be able to hear that really pompeii effects. So obviously you can hear it's really dramatic when I have the threshold so low. Now we don't want it that low. We just want it to be a bit more subtle than that. But we do want see basically here the Pompeii effect. Now, this will depend on what you want for your truck. So you'll have to just adjust the threshold accordingly. You can see that it's reducing the decibels by about minus 10 almost, which I would say is absolutely perfect. And that is basically it for side-chain compression. Now, if you've already had enough of this, you can skip on to the next lesson. But for those of you who want understand why this is so important and why you should be using this in every single track you make. I will quickly explain, say, although you can use side-chain compression on elements other than the baseline and kick. This is by far the most common use, and it's also the one that is essential in pretty much every single track. This is because the base and the sub bass frequencies of two different sounds will more often than not conflicts or interfere with each other. Now with mid-range and high frequencies, this is not so much of a problem, but with low frequencies, especially sub bass frequencies, it is a big problem and it can lead to the low frequencies of your mix becoming messy or unstable. And then they can lose definition, particularly the kick and loose definition when the baseline is conflicting with it. So what we do is we side-chain compression to dip the volume of the baseline whenever the kick is playing, which basically creates room for the kick and avoids that sort of conflicts between the two. Now, I know this might seem a bit like black magic at the moment. So some of you, but it's not essential that you understand the science behind side-chain compression. Just know that it is essential to guessing the low end of your mixes to work. And if he follow the steps and settings I gave you, that is all the matters for now. Alright, thanks very much for watching guys girls see in the next one. 7. BTP AB Lesson 06 Pad And Arp: Hey everybody, Welcome back. All right, so in this lesson, we are going to add a couple of extra bits to attract firstly a pad and then an arpeggiated sort of passing. First of all, let's add the pad. Say we're going to create a new midi track or insert midi track with it selected, I'm going to double-click on vital to load it. And as before, I'm just going to use the preset. But of course, if you want to know how this is made, go to the extra videos folder and watch the sound design tutorial on the pad. All right, so let's just go and open external Presets. Go to work, falls, vital patches, and had children of the stars, That's it loaded. Now we just need to get the music part sorts it for all the Midea. Say what we're gonna do is just literally extend the existing chord progression. Say, I'm going see just hold Control or Command on a Mac. And I'm going to click current chord progression and drag it down, says on the pad, Let's just quickly renamed this as well. Vital pad and I'll recover it. Thank you. Read okay. So now all we got to do is extend the notes. I'm just going to double-click on the Midea segments. And very quickly, let's just turn down the pad so it's not too loud. Now we just got C's simply extend all of these notes like we did for the baseline. But obviously with the entire code this time, I'm just going to go through and do this off-screen. Okay, so there we have it. All the notes in that progression has been extended for this particular part. Say let's just go back to your project window and play that. Just a little bit too loud. So and siloed. Okay, sound a nice, It's just a fraction on the bright side at the moment. So I'm actually going to double-click the channel, go into the vital instruments. I'm just going to play it and I'm going to turn down the filter a little bit. Just so it's a little less bright and a bit deepest sounding. That's a widow, the very subtle little sweet. Let's un-solo that and have it playing with the rest of the mix. Okay, now as I mentioned, we probably want to side chain this pad, say, well we're going to do to add it to the side chain group again is click and drag it and just drop it in the side chain group. Now we can see it sort of encapsulated by it. Now when we play it, you should be able to hear that pumping effects is now being applied to the pad as well. And just fun outlets minimize the side chain group. So just click that and really tidies up projects when Dave, all right, so now let's add the arpeggiated passing ops are a great way of generating a rhythmic musical element for your truck. Now we're gonna make one that is fairly subtle and sits in the background, but you can use an output and four, for example, the lead synth in your truck, say that can be used in many different situations and they kind of just sound nice. So let's add midi track. Actually, I want the Midea that we just created from the pad. So we'll just expand the side chain group for a second. And I'm going to copy up this new volatile pad Midea, so hold Control or Command and just drag that up to our new channel. And I can minimize the side chain group again, once again with the channel selected, I'm going to add vital. Again, we're going to use a preset. And again, if you want to know how to make it that's in the work files, say you're going to get a pin external preset. What follows wazoo patches. We want the BCP of children or the stars, which sounds like that. Okay, So that's come out there and I'm just going to turn this down a little bit and I'm going to rename this and color its color it and rename it up. Now, when I play it, I'll just say that for a second. If I play it, it doesn't really sound very applied, is just playing continuous notes. So what we've got in Ableton, a midi effects, and one of those midi Effects is an arpeggiator. So make sure you've got the channel selected and we can see the vital instruments tab down here. Again, if you don't see that, just double-click the channel, have, we're going to come up and we got the arpeggiator here. Now instead of actually using just the standard instrument on the Neizha preset. So I'm going to expand this to show all of the different presets that you can use. And we're just going to use the classic up-down eighth notes. So click on that and drag that. Now, the media effects always go before the instrument, not after the instrument as you can see, when I try and sort of drag it off to the instrument, it tells me a conduit says to an audio effects, drop it in there, and then let's play it. Okay, there we go. Now we got a proper sounding arpeggiator. So it's always a different settings in here that you can mess around with them. It can be quite good fun. And you can come up some really sort of cool patterns. So don't be afraid to sort of mess around with it. So you can change the way that the person work so you can have it only going up or going down. We're going to just keep on the down, up. And the only thing I've really wants change here is the rate. So at the moment it's triggering on every heartbeat. That's the 18 we want to change this so it's every 16th safe. We just move it down all the way. There's some really interesting patents. A light one, 24 for example. Let me just play that. And other sort of interesting patterns. Like I say, we just want this on 1 16th. You can also change the gate a bit. So if he bring that right down, it will become much more sort of plucky, I should say. So what I've got right down and 1%, and that's basically it for the op. Again, you can mess around with the settings and just sort of try and come up with something a bit different if you won't see us absolutely fine. But for me that setting is absolutely perfect. I've just got to balances, Elizabeth. So I want this a bit more in the background. They just reducing the volume a bit there. And I think that sounds absolutely great. So happy days. All right, so we have some decent sort of concept for our truck. Now, one last thing I'm going to do and that's just group these instruments as well. So everything supinate insiders. So again, select the top instrument that you want to add to the group and then hold shift and click the other one or others. If you're selecting multiple groups, right-click and just go group tracks, I'm just going to change the name of this group. And now if I minimize that, this is literally our entire arrangement makes it really nice and tidy. And we can just expand a group where we want to work on a specific element of a mix, right? Again, don't forget to save your work. Thanks very much for watching. I'll see you in the next one. 8. BTP AB Lesson 07 Drum Loops And Audio Editing: Hey everybody, Welcome back. All right, so in this lesson we are going to add some more drums to make the truck a bit more interesting. And while we're at it, we'll start looking at how to use audio in Ableton. So first off, actually let's just add another slightly bigger sounding hat to layer on top of our short closed hat that we've already got. As we already have the hat pattern set up, what we're gonna do is actually just duplicate this. So just select it and select Duplicate. I'll just quickly rename this open hats. And then with it selected, we're gonna go to our work files, the children of the stars, ODA, and we're just going to double-click open hat 10. All right, let's play that. So it's just added this hat, which is being laid over the top of our original smaller, sort of shorter hat. All right, so it just makes it a bit more energetic. Just going to turn it down a bit. By the way, when we duplicate the track, it'll say duplicate any settings of the truck. So it's already sort of copied across the reverb amount and that's about right for this half. Sounds pretty good to me. So let's talk about loops now in particular, we're going to be using drum loops. So first-off, it's fine if you do want to use loops in your track, don't let anybody tell you you can't, but also, you do want your tracks to sound original. Say one thing I like to do is actually take parts of a loop, whether that is a single drum hits or a selection of a loop. And that's what we're gonna do in this truck. So let's create an audio track. I'm just going to right-click and insert audio track. If you do that on a truck that's already integrate bill automatically add it to that group, which is what we want. And in the work files we can see Audition or leaps. So we've got two loops this time we're going to use topically 20. And again, if you want to stop it from playing, don't try and use the stop button up here. It won't work. You have to use the space bar on your keyboard. That is for the auditioning of any samples. Say let's just drag that into our projects and able to move automatically, sort of stretch it to CRT fits to the beat of our projects. I'll just play that quickly. In fact, let's turn it down a bit first. Now, I actually like the very first hits of this loop. Just that little sort of chip monkey kinda sound. But I don't want the rest of it is a bit too sort of film for this truck. So what I'm going to do is come up to the top of the loop on the right-hand side until it turns into a bracket. And then we can resize as I'm literally just going to drag that in, save any got that first hit. Now let's zoom in a little bit as well. And I don't want to do is just add a bit more of a fade. Is also added. A fade there, say that's absolutely fine. And this feed at the beginning can be a bit sharper. Say this simply just stops the ODA from making any nasty clicks or pops sounds. Quite important to do when you are sort of chopping up audio. That's absolutely fine. Sales just go out, submits. What I want to do is have this folding on the offbeat. So I'm just going to come to the top where you get the hand tool and to move it, you just click and then drag it. And I'm just going to put it on. The offbeats are in-between the first beats and the second beat. Just like that. Okay, so let's zoom out a bit and I'm just going to copy this across again. To copy it, I'm going to go get the Hansel hold Control, click it. And then we're going to drag this over. So it's on the start of each bar. Like say, now one way you can do as well to copy stuff is actually selects the entire region that you want to copy. And then again go up to a get the hand. So hold Control, click it and then you can drag it across. Just makes it a bit easier because now I know that I want this to start at the beginning of each bar. So it gives me a sort of easier place to line up, especially when you're more zoomed out. So we're going to have one of these hits on the offbeat, the first beat of every single bar. Okay, Sound good. Now let's add a bit of reverbs that I'm just going to crank it right up, see what happens. Just tiny database. This is basically like a very sort of background noise. It really just adds just a little elements of the beat to make it a bit more interesting. So we don't want it to be too prominent. Say anywhere around there is absolutely fine. We may adjust that later on. So that's the first loop. Sources say Let's get a second loop in there. And again, I'm just going to right-click and insert audio track. They can kinda just drag in audio to a Wilson and it will automatically create an audio track. But then you'll have to drag it and put it in that group anyway. So it's actually easier to sort of create it in the drums group already. Okay, so that's fine. And let's drag in a three as you say that for a second. And I'm just going to turn it down. Say there's too little sounds in this that I like. What is the very first sound? That 01 is this very low sound is like a mini sort of fill the order bits at the end. Actually, before we go any further on that, I just want to show you a very quick tip on the previous track here. So what you can do is you can sort of selects a region. Say in this case I'm selecting just one bar between Bar 5 and 6 on the top loop 20 track, and then irrigates the edit, consolidates. So instead of having lots of sort of individual hits, we actually have one loop. So what I could do is just delete all of these, select that and then see sort of copy it across nice and easily. You can just hit Control or Command D to duplicate it. So just remember the Consolidate function is quite handy. You can also hit Control plus or Command plus j, which is the consolidator as well. Alright, so let's get back to loop three. Zoom in a bit. And again, I want the first hits, and I want the very last bit says basically from about there onwards at the end. So we can just select the point where we want to cut the loop, which is right here, just after 5.4. And then to split it, you hit Control or Command plus e, Okay, and it just splits a leap up. So you can see now we've got that end sort of fill bit as a separate part of the loop or separate clip. Now, I can just simply shorten this one off. So we've only got the first hit. And again, I'm just going to make sure this has got a decent fade at the beginning. And let's just play that facts. Let's un-solo the truck first. Okay, so let's zoom out a bit. So what I want is this little fills the only sort of be at the very end of our section here. So there's eight bar section. This fill bit is going to be at the end. Say Why could do is if I drag it over, we'll keep it in the same relative position. So it's absolutely fine. Just make sure it's nicely lined up with the end there. And then this HIT or wants to have repeating once every two bars on the first beat, on the downbeat. So all I'm gonna do is get the hand to hold control and copy across. So it's on every two bars. There we go. That's just a bit loud, so we're going to balance this as we play it. Okay, So pretty much there. But the sort of fill up this at the end is a little bit quiet compared to everything else. That really wants to be much more prominent. So what we can do an Ableton is each clip or each slice, if you like, of a loop, becomes its own eclipse. And if I double-click on, it, will actually go to the clip editor, which can bring that down a bit. And in here we have controls just for this one individual clip. So I can change the pitch. For example, if I want say, you can hear it kinda makes it go a bit sort of weird and digitally. And I can also change the gain, which is what I want to do. So let's just move that up. Now. I don't want it to be that pitch, so I'm going to reset the transpose will say if you're a reset, something enable soon, it's normally just double-click and it will reset. So let's just play that. Still just a fraction quiet. So let's have this two gain of about plus 4, 19. See what that sounds like. Still just a little bit quiet. Let's try five. You're going to play through. Okay, So it just adds a sort of flick at the end of the track. So that's nice. Oh good. Just want to zoom in a bit here to make sure that we got a volume fade at the beginning they say, let's just make that a bit more of a extreme fade. The ends fine there. It's got a little fade already added by eight Wilson. Say Happy Days. Say pretty much done. Let's just minimize this group and as reactivate our pluck that's been muted. So I'm just going to reactivate it and the AP and this is play our truck. See what we've got so far. So I'm just making a couple of very small volume adjustments. Edge turning down the pluck slightly and the arpeggiator. That's absolutely fine, so that's great. In the next lesson, what we're going to do is actually add a completely different drumbeat using the groove and Eclipse functions in a Wilson. So we've got like a different section to our truck. All right. Thanks very much for watching guys and girls see in the next one. 9. BTP AB Lesson 08 Clips and Grooves In Ableton: Hey everybody, Welcome back. So in this lesson we'll be looking into Eclipse and grooves and making an extra beat 4 one of the sections of our track, this is going to be a basic introduction to these features of Abramson, but enough so that you know how to use it and what its uses and limitations are safe. And a wasn't we have clips and grooves. Grooves are simply timing information that will give a clip assessing rhythm. Clips are basically any kind of loop, whether that be all j lot we've added to our truck with the drum loops or even the melody that we've created. Now if you go to the clips section in the media browser, you can see that we've got loads of different clips down here. Everything from beats to sort of more ambient sounds. Got arpeggiator is all sorts of stuff. But the one difference that these clips here have from say, just a straight all j loop is that these are more customizable. Say for example, let's load up the 686 core hits hip hop 100 for BPM, say, in order to load it up or criticals create a new midi track, but they need to do that. I can just click and drag it onto an empty parts of our projects and it'll load up the kit and facts. I'm just going to drag the oversize at the end of what we've already created. And even though the original BPM is at 104, we can see, or we can here more accurately that the beat has been sped up to the tempo of our trucks. So that's just a bit faster. So a couple of things about this beat now. Firstly, you'll notice that this is done as Midea. And in the piano roll editor, you can see that we've got midi notes. It's just a little bit different, although we got the keys down the side here, we've got names next to them. So we can see that on this particular key is the bass drum. On the next key up, we've got the snare. Then another senescence, three variations of a snare. Another variation of a snare, another variation of the kick, hi-hats, Toms, et cetera. And all of these make up the beat, say as we play it. We can see wherever there is a note, one of those drums gets triggered if he can't hear the sounds when you say either click on a notes or when you click on the notes down the side, just remember to make sure that the preview button is active. I am. So I'm just going to loop this section or just select that drum Midea and hit Control or Command L. So you'll notice one thing as we're playing it, the kicks sort of gets louder and louder as it's playing. So it starts off kind of Jensen, and then by the end of the loop it's quite loud or just play against the carrot. Now what controls the sort of individual level of each kick? The velocity. So that's in this little sort of zone down the bottom here. So I'm just gonna expand that up a bit. And we can see here says velocity values make this whole window but bigger. And we can see we've got all these different points here. And when I hover over one, you can see which notes it corresponds to. And this first one here is the kick drum. I can also select the kick drum and L highlights which velocity points it refers to. Say what I can do is, so turn up the kick, Orca, turn down the kicker, make a much softer. Say what I'm gonna do is I'm just going to let raise up to full volume for now. I'm going to find the next kick, which is on beat 1.3. So we know it's dot velocity slider. I'm just gonna move that all the way up to the top. And the same with this one on ball2, and the same with this one on bought 2.3. Say now that will basically the same level. Let me just play that. Now if I want to turn down all of the kicks at the same time, I could either select like so, or I can actually just press the key and it will automatically selects all of these kicks. And now I can actually change the volume of all of the kicks relative to each other. So we can have them very quiet. Or we can have them read aloud. Something like that is absolutely fine. And the same applies for any of the other hits, of course, safeguard the snare, for example, we can change the velocity of that, et cetera. All right, so that's really the basics of the midi drum has an editor. So let's actually look at the drum sampler. So in order to get to that, we won't see double-click on the channel that's got the drum kit on, say double-click. And we'll see our drum sampler here. On the left-hand side, you have these cool macro controls. Now at the moment they went actually do anything. They need to be linked up to a particular parameter. So we don't need to worry about that for now. And as you can see in this section, we've got all the names of the various drums. So we've got a bass drum here which you can audition. Pressing the Play button in a snare, et cetera, equals a meat, solo them and you can change the tuning of them. Just double-click assessing if you want to reassess its. And of course he can change the overall level. Now this is like independent to the actual velocities that we've been changing previously. Say this just changes the overall volume of the kick. And then if I select the snare, for example, then we can change the individual volume or the pitch of the Snap. All right, so one of the things that this does allow us to do is actually replace any of these samples with any other sample. So prohibitive consistency in our truck because our bass drum at the moment in the main section. It just sound quite different to the one in this C6H6 kit. Say we're going to actually replace the kick drum in this with the kick drum that we using in the main section of our track. Say if we gates, you are work files o j photo on here and find our kick and just simply going to click on it, drag it to the base sign and you'll see that it highlights like a, and now when I play it, we've actually got our own kick drum playing, alright, and we can change the volume of that hair. So the other controls, which were just the volume and the transpose, which you see when you click on the snare, for example, chains are and level gates to the kick of z. We got now the sampler window here, CFO wants to change the pitch. That's done with a transpose control. And if I want to change the volume is done with this control here. And of course, if I want to change the individual notes volume, then I can still do that in the editor, just the same as before. All right, so that's how you replace a sample. Now I'm going to change the snare as well because the snow is just a little bit sort of wimpy. Not really a big fan of that. Now we could potentially use our clap. But that's also not amazing ready? It doesn't really have that nice snap of SNS. So I'm going to go to the samples in a Wilson, I'm going to search snare. And we have all of these different sort of sound so we can try a few of them out. Just drop that in. Now one really cool thing is that you can do this on the fly as well. So if you're playing it and you want to just audition different snares in your track, you can do that as well. So I'll just do that now. Drag and drop it on. So you can do that as we go in and just sort of like now, quite like that first one, I'm not sure if this is 100 percent going to work. So we might come back and change this laser beam is quite a nice snare and punchy. Just a bit too loud, so retainer down. And that's just sort of check the level going from this, be in our main section, two on new beat. Just want to make sure that it's relatively the same sort of volume level. So overall it's a little bit quiet. So I'm actually just going to and up the kick a little bit. That's fine for now. No problem. All right, so that's an overview of the drum sampler and Midea pass an editor. And as I mentioned, grooves allow you to change the feel of a bee or the timing of a beets or a clip, like audio or midi. Alright, so in order to explain how groups work of just made this sort of temporary beat. Now there's no need to copy less because I'm not going to be using it in the actual song itself. This is purely to sort of explain and show how groups work. So it's just a simple hats on every 16th. And I've just got a soloed at the moment or so. So in order to apply different timing to this beets, we first need to pick some grooves side. Let's just make this a little bit smaller for now. And you'll notice over here we got this thing called the groove pool. If you're not seeing that, just need to click the two wavy lines underneath the media browser and MR. Wind day the grief pool is purely for grooves, the compa anything else in there? If you drag median for example, say I'm gonna do that with this clip here, going to drag the M. And what it does is it actually takes the timing information and converts it into a groove. Say, I could then apply that to this new sort of example loop that I've made. Also, there's loads of pre-existing groups already enables them. You just have to click Groups edges, make sure you haven't got anything in the search bar there. And if I click on them, you're going to hear basically the timing information. Say got one, they're really heavy. Swing for example, let's just grab that and stick that in our group pool. So in order to actually apply something to this clip, I do need various grooves in the groove pool. Now you can also drag audio into there and it'll actually extract the sort of timing information from it as well. It's quite versatile in where you can pull your timing information from. You could, for example, take a loop of light when your favorite producers whose got a song with 3D awesome timing that you want to copy. And you could stick it in there, able to analyze it, and then you can apply it to your own beats. So in order to actually apply it's Jaime information to our beats. We first need to make sure we're in the editor window and overhead we'll see we got the word groove underneath that. We've got none at the moment. So what I can do, in fact, I'll just have this playing as we do this. And I can select the different groups. So here's the one that we extracted from our original beats. And you can hear it certainly made a very smooth change. But if I use the other group, the Boogie early snare, heavy swing and play it. You can hear that it's drastically change the rhythm of the beat. Now, at the moment, you don't see that beat being reflected here. And I advise that you actually don't do what I'm about to show you, I'll explain why in just a second. But if you do want to actually commit to a certain group, then when you select Sid your groove, hey, you can actually, you can just click the little arrow here. And it'll commit not just the timing of the group, but also the velocity of those hits as well. Post you can undo that by hitting Control or Command Z. Now the reason that you sometimes don't want see, commit the groove to the ODA is I commit it and then I then go and apply, say a different groove to it. It went sort of reset it. It will actually apply it to the groove as it is. So just make it even kind of weirdo, which I guess you could probably use to be creative in some circumstances. But generally speaking, the correct way is to start from a beats that has not got any sort of swing information. So just be on like straight sixteenths. If you'll be already has swing, then applying a groove to it is probably going to mess it up. So if used correctly, this sort of technique, well, this function can add extra rhythm or different rhythm to your tracks. However, there are many other uses for grooves. As mentioned, you could copy the groove of one of your favorite artists. You could figure out how a complex sort of dubstep beat, for example, works, what the rhythm behind it is. And then he could replace someone else's beat with a we are in sounds. Or you could even use it to map the groove of things like bird song or a car engine or any things that have very different, that would be hard to actually work out the rhythm manually and then extract the information from it, the groove information and then use it to trigger another sound. Okay, say, although that was a very basic overview of the functionality that, that is sufficient to get you started with groups if you want to use them all are ready once it out. This lesson is that beat that we've made. So I'm going to just delete my example loop. And we'll stick with upbeat, which is muted. Okay, In the next lesson, we'll add one more element to the mix and then we'll get into arranging our truck ready for the singer and the guitars. Thanks very much for watching guys and girls see you in the next one. 10. BTP AB Lesson 09 Mixing Up The Melody: Hey everybody, Welcome back. All right, so in this lesson we are going to mix up the melody, Alyssa, for this section of our track where we have on new beat, we will of course look in more detail at how to structure our tracks in the next few lessons. But one thing to note is important to create contrast between the different sections of your track. And now by contrast, I mean, like the chorus section should have a bit of a different field to the verse. And there is, of course, a balancing act here. So you don't want to go too far with that as you still want the sections of your truck to sound like they belong together. So you immediately recognize that they are from the same track. But within that boundary, you also want to keep things really interesting by having the sort of changes between the sections. For example, we are gains have a different beats here from the main beats of our track. And we will have almost the same melody, but it's going to be played with a different instruments. And it's going to have a slightly different feel to it, which we'll get to in a second. And that's enough to make this section few different. So we've got our beats. Let's work on the melody. I'm just going to go into my Since group and add my truck here. I'm just going to right-click and insert a new midi track. And with it selected, I'm gonna come over to instruments, instrument rack. And I'm going to go down SIP piano and keys. And let's find the Grand should be his somewhere like the grand piano. There was a grand piano double-click that. And that's now loaded onto the truck. So what I'm gonna do is grab my pad Midea, say I'm just going to hold Control, drag that down and I'm going to move that across. So it's over my B. I'm also going to extend my behavior, says a couple of ways of doing this. He kind of goes Whoa, control and copy across or you can just have it highlighted and hit Control D, separate loop region over that area. And let's turn down a piano a bit and play it. Okay, so we're going from this into this. So you can really hear the sort of contrast between the sections, but obviously it's playing the same melody. Now let's just mess with the melody a little bit. So I'm just gonna go into that by double-clicking. And what I want to do first is actually returned these notes say that old being triggered on the bars. So I'm going to shorten some of these notes that I'm going to sort of cheats about. I'll do it the quick way. I'm going to hold Shift on the keyboard whilst I select these, and I'm going to select these have a second chord, the fourth chord, basically every other code. And I'm just going to shorten them. And then I'm going to do the opposite. Say select the first, third, fifth, seventh chord and extend them so that covering the full bar. Let's just play that quickly. Just go slightly different rhythm. Okay, That's fine. A small change there. But what I also want to do is, uh, kinda goes idea in my head of the melody descending as it plays through. Now I don't want to really change the code. So what I'm going to do is add some extra notes. And quite a sort of common technique with colds is too thick enough of it by adding a base note. So I'm just going to copy the first two base eight. So I'm just going to select them both by holding Shift and then I'm going to hold control and copy them down. So they start an octave lower, which gonna play that quickly. So you can hear the extra notes in there. Now, what I want to do is have these sort of descending downwards, even though the cord state descend downwards in pitch, they kind of vary all over the place up and down. But these base units, I'm going to have them going down. So what I'm gonna do is use only notes from the chords that I'm going to pick notes that are sort of closest to the next one down if that makes any sense, say in this case it will be b. So I'm just going to recopy that on CB, which is the middle note of this chord, as we can see there. Then the next closest note in that chord is the top note, F sharp. So we're going to have lacked going down. So let me just play this so you get an idea of actually what I'm going on about and the effect that it has. You can hear descending. That's sort of what I had in my head. Say, let's just carry on. It doesn't matter which no, I use as long as I do use one of the notes that is in the code. Say for this one that'll be e sets, just copy that across. This one will be D-sharp is the closest. So again, just holding Control or Command on a Mac, so you copy across. Then we can gauge C, C-sharp, and then B, which is the root note of the last chord. Okay, Let's just play that. So I guess we really should have won on that where it plays. So let's see what we can get. Maybe we'll go up to the G just for this notes. Okay, say that all makes sense musically. Again, very easy because we're just using the notes that are already there. So you can't really go wrong. And it just gives that section a bit of a different failed compared to the main melody. Say that's basically it for this lesson. I'm just going to place it or what we've made so far in the whole track, just so you can get an idea of what the chorus sounds like and how the verse is progressing. So obviously is not finished at the moment. And then in the next lesson we will get on with the bare bones arrangement and get everything else in there. I'll see you in the next lesson. 11. BTP AB Lesson 10 Bare Bones Arrangement: Hey everybody, Welcome back. All right, so in this lesson we are going to do the bare bones of the arrangements, which is the first stage. But first of all, just a couple of little housekeeping things today. One is once the add a bit of reverb to this piano, say simply just going to add the send reverb by adjusting the level here. Second half full reverb, that's fine. Good animal say gains to add the 686 cool drums to the drums group. So I'm just going to drag that up and drop it on top of the drums group when you get that white highlighted box. And now just stick it in there. All right, so at this point in the track, we have sort of most of the content in there. We're just missing two key elements, which is the guitar and the vocal. Of course, he didn't have to add a guitar over goose TO track. He could add more synth parts or any number of different elements. That's just how this track is made. Now in order to be able to record the guitar and vocal, well, we need more than just this 16 bars of music. We need to have a truck that is complete enough that the structure is there. And also we want the energy of the track to be pretty much finalized as the energy of your track is what the singer or the guitarist is going to feed off when they do their bits of recording. To get the best out of them, we actually need to give them the best possible backing track. Now first off, what I'm going to do is actually add markers to this track to sort of indicate the start of each section. This is not something I would normally do and I make music, but it's just more for the sake of the tutorial and making sure that when I'm talking about a certain track or a certain section of the track, you guys are going to know exactly where I am. You can do this as well, just to make it easiest, follow along. It's very easy to add a marker in AOCI. Just come up to a, you get the little speaker icon right-click and then go add locator. Start from bar 5. That's quite important. So we're all in the same place. And I'm just going to call this verse 1. Hit Enter, and we get the next section, which will be eight bars along, say, from Bar 5 to bar 13. Again, we can right-click, Add a locator, going to call this pre-chorus one and again another eight bars along right-click Add Layer Kayser. Going to cool this course, 1.1. Now I'm going to do the rest off screen just to save a bit of time. But once I'm done, just have a look and you can copy them as well. Okay. Say UDN hair, just to reiterate from buff IV got verse 1, then an eight bar increments. We then got pre-chorus one, course 1, 1, course 1 point 2, verse 2, pre-chorus 2, suspense, which I'll talk about later, course 2.1 and course 2.2. So the next thing I want to do is actually expand my groups so it can sort of get all of my concept. Now just to make this a little bit easier and go and see, selects all of the instruments and channels. And simply cut through that up. And we're just going to make these a little bit smaller as it, as smooth as you can get them, just gives us a little bit more room. Say what we've sort of created so far in our track is basically the course and then the verse sections. So we actually need to move this all along. So what I'm gonna do is I'm just going to click anywhere in the project's hit Control or Command plus a, it's a highlight, everything. And then I'm scared, get my hand. So by going up to the top of an event, and I'm going to click and drag that along. Say this goes from course 1, point 2, and then into V2 is where we got our beats. And as long as you did hit Control or Command a, that should have moved everything else as well. All right, so now we are going to basically just copy all the instruments to where I want them in this arrangement. Say, first of all, we got Course 1 point 2 here, but we need the same course in course 1 point once I won't see selects all of this as a couple of ways of doing it. You've got the sort of more direct way of actually selecting like so and just dragging down. And so you've got all of the clips there in that section of the song, then we can control or hold Control and drag it across. That is one way of doing it a valid way. But you can also set the loop regions. So if I drag that over that section and then I hit Control or Command plus Shift plus L. You'll see that it's highlighted everything within the loop. And now I can again hit Control and then drag that across so it's copied. It just helps when you've got loads of tracks and you won't see copy everything without having to scroll all over the place. So that's our course 1, 1 and Course 1 point C. The only difference between the two is we are going to drop out the open hats from the first half. So from course 1.1. So it's going to start like this. And then obviously it will go into having the open house, well, could actually have just a fraction more reverb on the open house. Well, I think. Perfect. All right, that's great for the chorus, but let's get the first verse and the pre-chorus sorted. Now, again, I will give you more of an overview of this truck as we progress and as there's more stuff and note that we can talk about. But the idea here is that we won't see stop the track gently and build up towards the course or built up in energy to the course. So we're going to start the truck with the pad and pluck as well. So I'm going to select one of these hold control, and I'm going to slip my pluck and then I can hold Control again and copy this across. I'm going to do that twice. So we go to inverse one and the pre-chorus. So we're going to start just like this. Now we will add sort of automation to this as well. That's one stage of the arrangement that's coming up in the next lessons. But again, we're just getting everything in the right place right now. And then we'll sort of tie it all together. Say, that's great for Verse 1. That's exactly what we want, just these two things in the pre-chorus. Let's sort of start raising up the energy a bit and I'm going to copy across my kick. So again, hold Control, Copy the EVA, and then we've got this. You'll also notice that when we go from the verse where there's no kick, see where the kick is playing that suddenly we get the side chain defects on the pad. Say, oh good there. One thing that D1 is the baseline to come in and say, let's just select that and copy it across. Say we gain from just the basic plug-in pad to that with the baseline and the kick. Say one thing here is that I won't see you have more emphasis on the baseline and the kick when it comes in then on the pad. So I'm actually going to modify just this one segment of the pad. Say again, just double-click. See, bring up the midi editor. And all I'm gonna do is I'm going to mute the top tonight so I could just go in and delete the top, the notes, but just in case I want to bring some of those knees back in later, I'm going to meet them. Say what we do is meet them as we select the notes that you want to meet and just hit the 0 key on your keyboard. Say just simply 0, 0, 0, 0, 0. We've got just the root note of the pad playing. Okay, Let's just have a little listen to what that sounds like going from the first part of the verse. So it just has a slightly different field because not all the notes are in there, but when the full notes of the cords come back in in the course, it'll have a bit more impact. Just going to play that transition now. Okay, say stones get there. Just a couple more things that I want to do. And that is dropout the kick just before the start of course 1.1. So I'm just going to bring the n. So we lose a loss 3 kicks, but we've still got one kick on bought 20. They're just play that. By the way, you can zoom out holding Control or Command and using your mouse wheel is a bit more jumpy. So I try not to do in the tutorial because it can be a little bit disorientating where it jumps around. This way, sort of smoother, but it's probably the quickest way to zoom in and out, just using a mouse wheel. But anyway, let's go down and what I want is this little sort of fill hits from before. So I'm going to just hold Control, get my hand tool and copy that across. Say this acts as a sort of fill just before the main chorus play. That's it, just leads into it. Very nice. And also once he dropped out the pads and the base because they go on a little bit, see long hair. I'd like him to stop before it goes into the course. Saying this just either baseline first, click on Nazi edit set, and I'm just going to change the last note. So ends two beats before the very end. And I'm going to do the same with the pad as well. Again, just the last name needs modifying. And I'll just play that. Suddenly gets a far. Let's zoom out a bit and do the second half of the truck. Say, for the pre-chorus, this is going to be very easy. We literally just going to copy over the piano that you've got there. This is also a course going to have vehicles and guitar. I say we all kinda missing two important elements at the moment. But again, we can't get these elements until we got the first arrangement or the bare-bones arrangement done. So we'll start. So you sort of make more sense once we've got those in. Now for the course. I said I'll talk about that. So this is basically like a sort of folks breakout, if you like, where we'll have quite a few of the elements of the course. We'll actually have like the chorus vocal will have the flux coming back in and all that sort of thing apart from the drums. So be almost like the chorus, but it won't have the full energy and we'll actually use that to create suspense or tension in the track and build up to course to point to, then sort of releases that tension and everything comes back in with the full sort of course. So I guess first of all, we'll actually let's set a loop region over course 1, 1, and Course 1 point 2, making sure they're that. And then we're going to again Control or Command plus Shift plus L to select everything in the loop. And I'm going to hold control. And I'm going to drag that across C chorus 2.12.2. The only difference here is we will have the open hi-hat playing for the whole thing. Say I'm just going to copy the open hat over. And in the core suspense section, like I mentioned, we will have the pluck sending a copy that will have the pad, not the arpeggiator that can come in in the course. And we'll have the baseline as well. Just remember when you're copying, if you have something already selected and then you sort of go to another item and hold Control to then copy it. When you do duplicates that, you'll have both items selected. So you kinda need to click on the one that first that you want to copy, then hold Control. Otherwise it gets a bit confusing and you'll start copying things. Iid means you, alright, that's basically it. And what we really need to do now is actually tie this all together by using SFS sounds and also automation, which we're going to do both in the next two lessons. So I'll leave it at that. But if you want see, I'm just going to let the truck play through so you can get an idea of exactly what is going on in the arrangement, say fog, but if you want so you can skip on to the next lesson. Very much for watching guys girls see in the next one. Now on the database. Hello. Imagine that. Okay. 12. BTP AB Lesson 11 SFX Arrangement: Hey everybody, Welcome back. All right, so we're gonna get into adding some SFS sounds in this lesson. But I just want to do a couple of housekeeping things. First one is I forgot to put the little fill sort of sound at the start of the last chorus, chorus to point C. So I'm just going to come in and grab that, hold control and copy that over. Also just to stop again the pad two beats before the end. So I'm just highlighting that now remember these names all in here because he didn't remove the top two notes from this particular pad clips. Where again, the star of course, to here, and I'm just going to do the same for the baseline is for me the last two notes. Okay. Say that's a good. Now, one of the very, very quick thing is the piano in thus, sue, I'm just going to go into this. What I want to do is actually remove this little code here and delete those notes, and delete that notes. And I'm going to highlight the code here, scroll up hold Shift to select all of them. And I'm going to extend that to full length. Just say it hasn't got that extra kind of flick in the first repetition. But then in pre-chorus two, it still will have that loafing. It's a very minor adjustment, but it just adds a bit of variation to those two sections. Alright, now with that out of the way, let's get on to discussing tension and release. So when I talk about tension and release, I mean, for example, leading from the pre-chorus, that's just gates to the start of our truck. Now as that plays, it will sort of build up in energy. At the moment. It's just the straight sort of melody and stuff, but we'll have some SFS sounds. So it's going to go from very basic to a bit more energy to like full on energy. But in this section here, particularly, this is going to sort of build what we call tension with the S effects sounds and any automation. And then we will get released from that tension when the chorus drops. And creating that tension and release in your tracks is like literally vital to keeping listeners engaged in your music. As this one important thing to remember when we are talking about tension and release, and that is whatever tension you create. So let's say we have like a really intense sort of like Pitch Bend riser or something in the pre-chorus. The energy of that really has to be balanced by the amount of energy that you get when it drops. So in this track, having like a super intense buildup, what you would get in like a full-on EDM track, for example, that's just not going to work because when it does drop is going to sound sort of week by comparisons, they have to get the sort of balance of energy between the tension that you create and the release that you get when it sort of drops, that will become clearer as we go. And there are many different ways in a truck to generate tension and release. Now just to give you an idea of what a big topic song arrangement is in general, we've actually have a tutorial which is over five hours in length purely on how to generate sort of killer arrangements and how to master tension and release in your tracks to keep your listener engages called the song structure masterclass. Say definitely go and check that out if you're interested, but just wanted to give you an idea. We're going to be pretty touching the sort of basics of song structure here. And say, let's get adding some effects sounds. So I'm going to minimize my groups here for now because we didn't really need them fully expanded. And I'm going to gate to the work files. Oda photo, children are the styles. And we're actually going to use three different crashes. So one bigger one, when the chorus drops to sort of increase the impact, that will have a smaller sort of crash which will be used halfway through the course. And then our last one which will come in at the very end of the course, which has a sort of slightly more of a downer filter effects to it. Now, you don't have to use three different symbols in your introductions, but it does sort of keep things a bit more interesting. Say delights, you mix it up a bit and not just use the same crash cymbal u3, you totally can lots of trucks do it. All right. So the first cymbal crash the scene and a drag that in and I'm just going to drop it in an empty space at the star of course 1.1. Now we'll definitely, definitely wants to turn that down quite a bit. And let's just play well, that sounds like okay, say pretty much then maybe it just down a fraction more, but that sounds a roughly about right. Let's drag in our mid course crash, which is going to be crushed, a one. So again, I'm going to drop that on its own track, will group these together in a bit just to keep things tidy, but it's absolutely fine to have them on separate tracks. It means we can easily change the volume of them, say that's fine. And then the last crash is crash 0, 9, and that's going to come in at the very end, say the star of two, again, drop it onto its own track and adjust the volumes of these. Say let's go right down. And I just quickly check them, say crush a warmer check. Will say again, see what the reverb up on these as well. I mean, they've already kind of slightly deep sounding, but it's fine to add as much reverb as possible to them. So we don't want that to be too loud. In the middle core section, say somewhere around that volume levels. Absolutely final, It's just check crash nine. By the way, you might have noticed that we've got the loop setup here, but it's not looping. That's just because I've deactivated the loop by pressing that low bus and up that. All right. Well, good for now, let's just copy this across. So anywhere else that we might want them, just zooming out the bits. And I want basically the same sort of sets up for the loss chorus. I'm just going to highlight u3, those hold Control and drag the EVA say S thoughts. Course 2.1, just going to scroll along a bit and show that lost symbol they exceed it will not to last for four bars like it does. But we'll zoom in and we'll add the envelope to the end of it. So it sort of goes down a bit quicker that she made it even shows up. Okay. That's fine. That'll be the end of our track. And now just a couple of placements I'm going to have crushed a one's going to copy that over to the style of core suspense. And that's basically it for the crushes, the easiest things to get in there. And again, they just sort of help the release of tension and release because the add extra impacts, see the sections. Now let's add some sort of extra tension. And for that I'm actually going to use crush nine and I'll get to reverse it. So I'm going to copy this across. Let's have it going in C, the first course. So when it's on its own, we can just right-click and select Reverse clip. And there we go. I'm just going to play that. Now if I won't see you have the volume of this separate from the other crash. I can simply drag that in a blank section of the projects and it will just add it to its own audio track. And I can just rename that as well. Reverse crash. And then I can turn that off because it's a little bit. And then I'm going to copy that across. Say, that leads in C, the core suspense section and also once more to lead into the actual course. Maybe just a fraction 2D out, but we'll get the balance right as we go. Now one of the thing that I do want to do is use another uplift or effects to sort of embellish the crash leading into just the course sections. Say for that, we've got this one at the top, the BCP one fx riser O3. So I'm just going to drag this into its own section. Now what we'll see here is the number of trucks is limited 16 in this vision alive, this is the lowest version that you can get sick. That's fine. No problem. What we will do then is we will actually select crash noise and just move them up so they're on the same channel as the crash. If we won't see, we'll just have to go into the clip and individually change the gain. That's fine for now. We'll just leave it like it is. Sorry. So this is just needs to be renamed. Again. We'll call this our Rosa. And we'll drag that onto this track. Now will free up some tracks in a minute by consolidating all of the SFS sounds together. Okay, So just go see, zoom in a bit and move this NC position. And we're just going to add a volume fates of this. So it doesn't stop very suddenly and it starts to get more gradually. Just play that Siri sounds like she's going to send it down a bit, just like all it's doing there is just embellishing or adding to the Buddha. Just a little bit, say lambda. Okay, That's absolutely fine. Now let's zoom out and copy that across. So at the start of our second course as well. Okay? Oh good. Alright, say that is a very basic look at SFS sounds. In the next lesson, we'll consolidate these down and we'll start looking at automation in Ableton to add the final touches to the arrangement, then it's ready for the guitarist, vocalist. Thanks very much for watching guys and girls see you in the next one. 13. BTP AB Lesson 12 Automation In Ableton: Hey everybody, Welcome back. All right, so before we actually get into automation, we need to free up a bit of room, as you saw in the last lesson, we've reached our limit of 0 j m midi tracks in this version of Abel's in. So you can do a trick where you actually record any of the tracks that you want onto another audio track within ableism. But that also takes quite a bit of time and we've also run out of tracks. So we'll do a slightly different way. First off, what I'm going to do is actually mute everything that we don't want to sort of render. It's one track and say what we want is all of the effects on, say, anything other than the SFS sounds. We can just meet the groups. That's fine. Now when I play the projects, we won't hear anything other than that. Crushes and the riser effects and stuff. Okay, so good that now what I want to do is come up C file AND gates to export audio is going to give us a few options here, say the render starts. I actually want to start this from the very start of the project, say bar one, going all the way to say bar AC, just to make sure that you've got everything in after that symbol, say bar AC about there. The other settings should be default for the track that you've got. Say we're recording at 44.1 sample rates. We want to record Wab, not an MP3, and that's fine. Just get Export. Now, choose where to save it. Say I'm going to pop it in the Trojan or the styles ODA folder. Say the one that we've actually got in a Wilson. Just going to call it S FX consolidated and click Save. Now it's just going to process that. And then once it's done, we should see it appear in a Trojan or the stars audio folder. There it is, as facts consolidated. And now we can actually just happily deletes all of these effects sounds. So I'm going to select the first one, hold Shift, click the last one, just hit Delete to get rid of them and we freed up our tracks. I'm just going to drop this in now remember this starts from the very start of the project. And we can unmute the other tracks as well. Say that they are all on one track, just going to color this green just for the SFS sounds that subsidy fine. All right, let's get into automations. Say automation allows us to change a parameter over time. Say we could change, for example, the volume, have IT staff quiet and then getting louder. Or we can change the panning, or we could change the filter cutoff of say, the pluck, for example, which is actually what we're gonna do. But basically any parameter of a plug-in or instruments and some functions of Ableton can be automated. Say, let's just and maximize our synth group. And again, we're going to automate the filter cutoff of the pluck just out at the start of the track. It doesn't start quite so sort of bright and full on. Just a bit too over the top sites, the show automation in a Wilson, we click this little button here or you can press a on your keyboard. But just if you depress a and nothing's happening, that's probably because you've got this button up here selected which turns your keyboard. You're typing keyboard in C, Basically musical keyboard as well. And a is one of the keys at ease is say if you want to use a to activate automation, you must turn that off first, then you can switch between automation and non automation mode. That's fine. I believe I'm an entrepreneur, is that bus in here? So you can see we've got a couple of sort of lines there. Now, like I said, I won't see you actually automate the filter cutoff of voices, not the volume level of the track. So the easiest way to get automation up for the parameter that you want to do is I'm going to go and see my vital plucked instruments. And we actually want see, modify the costs of Phil's SS thoughts. A bit sort of demo sounding like that. Rather than bright. Say for this work what we're going to do, I'm just going to close out for a second and I'm going to set a Wilson up for recording automation. Say there's two things you need to have selected. One is this button, right? Hey, need that to be active, say orange. And also this one. This means that when we record automation it won't overwrite the Midea that's underneath it. If we don't have that selected, you'll still be able to record automation, but it will actually get rid of the notes underneath it, which is much good. So we need to have both of these selected. We then need to make sure that this truck that we want to record automation onto is what we call OMD. It's just this little red button, record enable button at the end there. Say make sure that's red. And then I'm just going to hit record. And I'm going to go into our vital instrument. Make sure I'm on the correct instrument first, which is our pluck, go in, see vital. And I'll just set this up so you can actually sort of see what it's doing. Say, I'm going to hit Record Enable, and I'm just going to adjust the filter cutoff. And you can see there on the screen, we've got this automation lines there. Now, when I stop it, that all summation rule may now I can now close vital and let's just make this a little bit bigger. And if I want see, I can just add points and then sort of add in automation manually using the mouse. This is probably the easier way if you're a beginner to automation. But if I want to delete any of this automation, I can just highlight the area that I won't see deletes and then hit Delete. Now using automation is really simple. Like I say, just click wherever you want, see at a point and then you can move that up or down. Say that, say that we won't see starts our filter cutoff about hair and it's just soda, this, it's a bit more apparent. That starts off a bit dim. And then we're going to have that rising up in energy to the star of course 1.1. Let's just zoom in a bit on this as well. So it's going to start dim and then get brighter. And obviously by the time it gets over here with much more bright. Say that's how it wants, it sees sound. But you can also do a couple of other things. He didn't have to have a sort of linear line like this. You could of course add more points and add in whatever sort of fade you want, by the way, to delete a point, simply click it again. But when you move your cursor over it and you see this sort of line turn blue. If you hold out, you'll see this kind of curve tool, a pair and then you can click up and down, make this sort of exponential or logarithmic, depending on what you want. Say we'll have this more sort of like an exponential type curve. Say you can choose, do you have a sort of steeper reaction to the automation as it gaze on or a steeper reaction as it starts, we're going to have a slightly steeper actions will DNS, it starts off and stays lower at the start and then towards the course is going to suddenly stuck embrace a quicker. I say, that's fine. Let's just zoom out and this a bit and get the automation sorted. So for the actual course, of course we won't the plucked to be at full brightness. So you want this automation line, CB at the top. Let me actually quickly just play this while we're looking at voice who, and you can see exactly what the old summation is doing. So we're going to watch the filter cutoff as we play. And we can see it very slowly moving up in speed, but that will increase in speed as we get further up this automation line until it's fully open and then opposite it's going in C, the course. Alright, say I just wanted to illustrate what it was doing. Now it's very easy for this track. I mean, we're not gonna do anything too crazy. Again, when it gets to the chorus 2.1, we want is to be full power. So I'm just going to drop in a point there and then at a point here and bring that down a bit. So it doesn't stop at quite full power and it comes in. See the core suspense section. Again, we'll add a bit of a curve, say hold Alt or Option on a Mac, or I should say. And just add that curve. Let's un-solo this as well. Say, oh good, That's pretty basic. Couple of things I want to talk about before we move on and automate the pad. Just because this is like a really important thing that took me awhile to figure out when I first started using Abel's in. And thats is, if I go in, see my voice who instrument, and manually adjust the filter cutoff of gold summation. If you watch that, you see it changes, the automation line goes gray. And then the original sort of filter cutoff line has a PID. Say, all you have to do if you want to reactivate, the automation line is come up to this little orange arrow here and click it. And now reactivates 0 or summation lines. Say if on the rare chance he didn't want to activate all of the lines. I'll just do that again. All of the automation lines, I should say. So we've deactivated it because we've made a manual adjustment to the filter cutoff. But let's say that other items in your mix that you don't want to reactivate the automation to say you can do on an individual basis. Say with the voice channel selected, you can actually see the automation that you've got used here. So we can right-click that and then go re-enable automation. And that will enable it purely on this channel alone. All right, so just an important thing because it can be a little bit confusing if you've accidentally deactivated the automation. All right, so let's do the same thing for the pad site. It's come out of the sinc group and go into a side chain group because that's where the pad is. Just make this a little bit bigger. And we're going to do exactly the same thing. So I'm going to make sure this is highlighted. Go into the voice who instruments. And again, we're going to see mess around with the filter cutoff. Say I'm going to make sure I've got my two buttons selected here that I need. And I go and see the pad track. Oh, sorry, that's the bass track. A big button say on the pad track. And then when to hit record. I can start playing around with the filter cutoff. And it should have recorded that old summation, which it has done that, okay. Say now I can just go in and I'm actually going to just delete that automation and start afresh, say we want to start with it down again a bit. Coming CB, pretty much full power, which isn't actually fully open, but almost fully open on the Padlet. Just play that from the beginning. So it starts off nice and soft, then gains in intensity. Say somewhere around this perfect. Now won't see just the, the same hair. So I'm just going to add in a couple of points. Sorry, these are quite small. I hope you can see them. All right. And I'm just going to drag that down. Maybe have that stung a little bit brighter. But that's absolutely about perfect. No problem. And we've now automated the parts of our track that we need to. All right. So we've got the energy of the truck pretty much there is obviously still a fairly basic track, but it's kind of got to be that way. And we've got everything in place ready for the vocalist and guitar. You come in and do their thing, which is what we'll talk about in the next lesson. Thank you very much for watching guys and girls see in the next one. 14. BTP AB Lesson 13 Recording In Ableton: Hey everybody, Welcome back. All right, so in this lesson, we will discuss how to record guitar and vocals in Ableton. Now, I'm aware that some of you are not interested in recording or the processing of recorded instruments. Say, if you do want to skip ahead to Lesson 17, then you can. When we finished processing the vocals and guitar, we will then bring in the final process recordings into Lesson 17 so we can continue on together whether you watch these lessons or not. So first, I want to talk about how to set up Ableton for recording and my process. Then I'll go over some of the important points like what Mike to use and what you need to do to get good recordings. Say, first of all, I'd like to do my recording in actually a separate project to this main projects. Now you don't have to do it. And if this was a simple vocal, like just a hook line and nothing else, then I would probably just stay in this project and record in here. But as we have two verses, a chorus, pre-chorus. And I also want some ad libs and stuff, then things can get pretty overwhelming in a single projects, especially when you've got everything else going on as well. And also to be fed this version of angels in that I'm using for the course has a truck limit of, I think 16 tracks. Say I only have two more trucks available to me, which is not enough to do ha and vocal recording considering their own need, multiple tracks for the different vocal parts that I want. So in order for this to work, what I'm going to do is actually export this as an instrumental. So just make sure that you've got everything playing at the moment. Say that's all there. And what I've got to do is Gacy File and Export Audio. The most important thing here is to select the render star and the render length. So we're going to start from bar one, say make sure this is on bar 1, and we're gonna go up C bar AC1. It just to make sure that we get every single bits of audio. We want the sample rate to be the same as this projects and we're going to export it as a web. That's it. Say, let's go export. Say I'm going to save this to our children of the stars on it. It says starts, sorry about that as my spelling mistake, I'll correct that before the end of the G 0, but we want to save it. See the Audi, a folder of the work files. I'm just going to call it children instrumental, so we know what it is and click Save. Say once this has finished rendering will set up a new project and we'll start recording in that. Okay, now that's done. We just got to remember the BPM of this truck and opposite, remember to save your work as well. And then I'm just going to create a new live set and a gate to the arranger track. Don't need the midi tracks for this, so I'm just going to select them and press Delete. We'll leave the audio tracks for now. We just need to change the tempo of the truck, C1, C5, so it matches the main projects. And what we got to do is drop in our children instrumental, which should pop up in a second once it's scanned, the file that we gave children instruments. So I'm just going to drop that right at bar one on any of the audio tracks. There we go. We've got our instrumental, that's great. And that is the projects basically setup ready for recording. So let's look at how to do that. Enables in, say, a person should automatically detect that the audio inputs of your audio interface, if you have any issues, gauge, see options, preferences. And then under the OJ tab, just click on Input config. And we'll see here we've got a list of the different inputs that the sound card has. Yours may look slightly different depending on how many inputs you have. And we just got one and see selected account, select multiple, but we really only need one. And so just make sure at least one of them is highlighted. And that's okay. Clays preferences. And then on the RJ track will notice that we've got this drop-down box here. We want this to be on extent that's external input. And then here we want to select which input is going to use. So we've got one or two, or if you're recording in stereo, you can use both. So you can actually see the microphone input there, that little green bar on Mike one. So I'm just going to select that. Now almost o CGA mikes are mono, meaning they only have one channel, and that is what you want. You don't want to use a stereo Mike for recording vocals. Then it's as simple as arming the truck, like say, and then hitting record. And you'll see that whatever I say in the mike is being recorded. Just going to undo that. There's pretty much as simple as that, but of course there are other things to consider and we'll go through the noun. So in Ableton 11, you have what are called lanes. Say this means you can record multiple takes on to one audio track. And then afterwards we sort of go through and pick the best take, which we'll get to later. Now, the way I recommend recording is to loop one section of attract. Say for example, we could loop what will be the first verse, which will be this section here of the activate the lateness, very important. And what we'll do is we'll record this over and over loop, say three or four times, for example, and get the singer just to sing it consistently loops just like that. And now I'll add all the different lanes to the audio track, which just say, Nay, I will demonstrate. I'm just going to shorten this a bit more obvious. And if I hit record and keep talking, you'll see that it's just going to keep recording in a looping fashion. Now when I stop recording and come over to the audio track, Right-click and show take lanes. And you'll see that we've got all these lanes and that's the different recordings. By the way, if you've got automation enabled, you won't see the take ln z, can't get to that option. Say make sure that all summation is hidden. And then you can see that take ln z can also hide them as well. That goes, I don't want to record my voice. We will record some singers sounds. You can undo that. Now just a quick word on that. Say what you want to do when he set the loop regions actually have like a bar either side of the section that you're recording. So it was a big guts are thus hair, which is from that point to that point. So I've just set the loop region R bar longer and shorter. That means that when it loops around, it just gives a singer enough time to sort of refocus and then get ready to start recording the same section again. And I'll literally rinse and repeat this process for every single section of the track, the verse and chorus, et cetera. Another thing to consider is if you have sections of your track which don't have a strong beat or it's at the very start like this is. And there's no beat for the singer or guitarist who whoever is performing to actually get in time with, then you need to activate the metronome, which is this button up here. And now when I play it, you can hear what it's doing. It's just providing the rhythm that's necessary for the sand. Now there are a few options here so you can set it's only a naval war recordings that went actually come on. Normally only you and me hit record. You can all say set it C, have a lead in, say accounts in one box. So basically wait one Bob for actually stops. Now the recording stops. And there are a couple of other options like just a different sounds or different rhythm. So at the moment is on all say, which is on one beat. So it's actually paying 14, but you can change that says a bit quicker if you want, for example. All right, so other things to consider if you are using what's known as a condenser mike as opposed to a dynamic mike, you'll need to turn phantom power on in order for it to work, which will be either a physical button on your audio interface or a button in the software settings or software mixer that came with it. Now I will say very important is you need to set the microphone pre-game level on your audio interface. Now this is not done in Ableton. Say how you do it will vary slightly depending on what audio interface you have. Say, if it's not obvious how to do it, then have a look at the manual that came with your audio interface. Setting the level of the mike pre-game is really impulsive. If you set it too loud, the recording will distort when the singer gets louder, and that part of the recording will basically be unusable. On the flip side, being C quiet is kind of less of a problem. It is too low. You do have a chance of hearing the noise floor when it's compressed. So it's important to find a decent middle ground when setting the level, I always say to the singer to sing at the most sort of intense level they're going to do during the song while we're getting set up and whilst that singing at the top of their voice, essentially, you want to get the input level and see where it's just peeking into the red and then back it off around 30 to 40 percent. Now that might sound like a lot, but from experience, I can tell you when the singer is in the moment and singing the most intensive parts of the truck, it will be louder than what they thought it would be when they're assessing up. So it's always good idea to sort of get the level set and then back it off to give it a bit more room. Now further to this, during recording, always keep an eye on the input level. And if ever peaks and goes into the red or what's getting close to that, you need to adjust it and turn it down a bit, and vice versa. If you find that even at the loudest moments, the level is very low, then adjust the upper bit. Catching this early on can save you losing a lot of good recordings. Now this obviously is talking about recording from a microphone. Other guitar in this track was actually recorded through direct input from the guitar directly into the audio interface. But the setup for recording in Ableton is exactly the same. And also guessing the input gain levels set correctly is exactly the same as well. All right, So that's recording in a boson. In a nutshell, let's look briefly at mike setup and room setup. Say for this song, we found a singer and guitarist and we had them come into our studio to record, will show you that and how we set it up to get good recordings. But just be aware that a lot of the time we actually get the singer or guitars to work remotely these days. So we give them the remit of what we want. They record it in their own studio and send it over to us, which is a bit simpler, but it's not quite as hands-on 0 creative as having them with the in the same room. Say though, benefits and drawbacks to sort of both approaches. Obviously, if they are recording remotely, you don't have to worry about the recording setup. But if you are recording in your room than there are a few things to consider which I'll talk about now. So when recording microphones, one thing you want to do is reduce the reverb of the space you are recording and you didn't have to completely dead in it as if you're recording in an anechoic chamber. But reducing the room sound will mean you run into problems later on at the processing stage. You can do this with acoustic panels as shown in the video you're watching. You could even hang a do over a frame of some x4 and put the mike in front of that. Basically, anything that will deaden the sound of the rooms, reverberation and help he gets a cleaner recording is a good thing. The other thing to consider is the microphone and the position of it. So these days the mikes you can get even the cheap ones are actually really good to say if you need to get one just Googled best budget vocal microphone or something, and check out some reviews. Just note, if you get a condenser mike, which is normally the best Mike for studio recording. Then as I mentioned earlier, you will need an audio interface that has phantom power in order to power the might. Also use a pop showed is very important to stop any place SIFS guessing picks up on the mic. You can also use the pop shield to sort of stop the singer from getting too close to the microphone. I usually set the pump showed about eight to ten centimeters or around three inches from the mic and ask the singer to stay as close to the pulp chute as is comfortable for them. Now, as a beginner, that's really UI needs to be able to get decent recordings. Obviously, you can go a lot further with this and there's a lot more information out there. But honestly, if you just stick to those basic sort of steps, you'll be able to get decent recordings. Now, we're gonna go on and actually record all of our vehicles and gets heartaches. And in the next lesson, we'll compare all together and get one. Great Take. Thanks very much for watching guys and girls see in the next one. 15. BTP AB Lesson 14 Comping Audio In Ableton: Hey everybody, Welcome back. All right, so in this lesson we are going to learn about comping and say, comping is the process of taking multiple takes of the same section. Say for example, the verse and taking all the best bits of each take to make one really great take. The technique itself is really powerful and helps you get the best performance possible is also really easy to understand. And when you do understand it, you'll be able to apply it to any other recorded audio. So we have all of our vehicles, anger tells recorded. We did record each section loops and we got sort of three versions of each section. We did do that individually, but just to make things a bit clearer and less confusing, I have sort of consolidated, like take one of the verse pre-chorus, chorus all into one or J file, and then take to a verse, chorus, pre-chorus, etc, into one audio file just to make this sort of easier to understand. So it's less messy than seeing all the various recordings of the verse and then separate recordings of the pre-chorus and then separate corners of the course and so on. We also have some vocal Oozie. There's a few different takes of these as well, which you'll see in a bit. And we got some ad lib recordings as well. Say ad libs are really when you get the singer to freestyle over the track and just sort of come up with stuff on the fly. So you've got some of that. And the guitar, as you can see, it's actually cool. Guitar comped. So this is like the final version of already comes the bizarre together. The reason being that it was only two recordings. And what I will show you when consolidating the vocal is exactly the same process as what we used on the guitar. Say really no need to show the same process twice. So we're gonna go through the main vocal takes and enables and 11, we have the comping tool. If you're using an older version, I'll discuss how you can still comp without the comping tool in a bit. And that can also apply if you've got the vocals from an external source, for example as well. So they're not actually on lanes. If you did loop and record multiple takes of one thing onto one track, you will need to show take LN. So come over to the channel, right-click and click Show take planes. Now just be aware that if you've got all summation view active, you won't see the take lanes and you wouldn't have the option to show them. So you just need to turn that off. And then you'll get the option to show or hide, take lanes there. And we can see here we've got vehicle take one, vocal tic two, and vehicle take three. And you can see at the moment that vehicle take one is active. You can see it's active because we've got this sort of blue colored bar at the top there. So let's just zoom in a bit reversed bonkers. This is the section that we're going to work on for now. And let's just play what we got going down and the suffering. That's take one of the worst. Now, just bear in mind that the timing of these plucks doesn't quite suit this section of the track. So we will change that when we go back to the main arrangement. It isn't time, it just sounds a bit weird because every second hits of the pluck comes in half a beat early rather than on the bar, but we'll change that later on. Alright, so when we do listen back, we'll get and see sort of how you listen to the different takes in a second. But when we do listen back, the most important factor that we're looking for is the emotional content of the performance. It's where the singer really lets go. Now sometimes you just need the bits that sound good. It really sort of depends on the track. It could be a dance track, we just want more energy or it could be a ready, lovesick track or something where the emotions superimposing. So when I refer to emotion, I'm really talking about the energy of the vocals and how that is conveyed in the performance. And that is the most important things look out for, obviously the quality of it. So the pitch and timing can come into a little bit, but they are less important than the actual emotion behind the performance. All right, So using the comping tool is dead simple. We just select the Draw so from up here. And then if we say, wants to have say the second phrase of this being from take two, we just literally click and highlight it. And then we can see that that's now been highlighted. So when we listened to it on, and we're listening to that section of it, or we choose, say, for this last parts, we could choose a bit outtake 3 and then 0 we got to do really is just listened through and compare the different take. So I'll just say my process I'm going to listen for is this bit first. And if want to listen to the second one, With going down at some of the survival, would do headstrong never want to be relatively sounds really good. Say that scale on an essence to the second one as well. We can listen to the whole thing if you want it say like going down, it's the survival. We do headstrong, never worn a bead. So definitely the second one sounds the best for sure that my is going down. It's a valuable. What do headstrong never want to be? Refers to the consistency, the emotion bind. It sounds pretty solid. Very nice. And then we just carry on through the rest of the verse, like say just listening to the different bits. Gone down. Stop bad. Let's just check it with this one. Now we're doubling down on. That also sounds the best. I think we probably going to end up just using the whole vehicle. Take a CSU. It sounds the most solid. Let's just check the last phrase they extend Monday region of it. Checkouts, vocal take one here. And let's try vehicle take to say, yeah, I like that one month, That's good, nice, funky sort of thing to it. So we're going to use that data. Say clearly vehicle take 2 is the ones use HIT. Now, quite often, you'll have to use different phrases, like a sort of shape before. Use a bit from vocalist 81, he's a bit from vehicle take three and a bit from vehicle take to. It really depends, but is incredibly common that you do have to do that. Now, ideally obviously you want to be able to use just a full take for one section. It's a lot less work when it comes to the company. In this case, that's what we can do for the verse section. But they'd be dismayed if you've got to go in and sort of make much sort of finer adjustments, even down to the individual words. If it means that really getting the best take and it's absolutely worth it. All right, so I'm going to carry on and go through this literally just in exactly the same way. There's nothing new to say. I'm just going to keep going and selecting the different bits of audio. And then we'll go through and discuss which bits we picked. Okay, so I've gone through and selected all the bits. Now, I've managed to just keep it to entire takes for each section. As you can see, reviews, different takes for the different sections. Say let's just surrogate for it now you've already know what a Chase who verse 1 says just K through that. You see a cell because we think gone. So it sounded good. Say fall is just crack on. Accepting less water. I just turned down the guitar as works. It's a bit too loud and actually let's just play that as well so you can hear it's set to US. We're method. Last thing I want to extend that a little bit there because the pre-chorus vocal doesn't actually start until later. And we got this sort of long tail on the vocal. Let me just sort of expand that a bit so you can see what I'm talking about more and zoom in. Let's extend that ROI up. See there where the beaucoup in the pre-course to actually starts. Even one is C. Because what you think, playing obviously the ad lib vocals here, which is absolutely fine. Or when we get to this section, we've got just a slightly different vehicle here, which is what Laura just sort of came up with on the fly, which is why I think doing ad lib takes his really imposing, even if most of it is complete garbage. Sometimes you get just a little bit of gold out of the singer free starting over the track. I'll just play that. Okay, so that's cool. But one thing that's going to happen in the next lesson is I'm going to process the main vehicles and the ad libs, and they're going to be processed separately from each other because I'm probably going to have sort of more reverb on the ad lib. Say what I want to do is actually snip there. So I'm just going to select this here. Hit Control E to explicit. And I'm going to add this to our sort of main vocal track. Say now it's playing on a main vocal track rather than playing on the ad lib strike. So we can just play that's a turn off my comping. So so I'll say a little bit quiet this clip. So I'm just going to double-click it to go into the clip settings. And I'm going to change the gain a bit. And let's try like a couple of DBs going to be mixed and compressed and everything. But I do want it to be relatively the same volume as other sections are. So excited, raising the gain up just a little bit. Let's go to 3D dBs, and that should be absolutely fine. So just a slight bits of moving stuff around there. But apart from that, now the main vocal take is absolutely complete. If you want. C can now consolidate this o to one single takes ages, needs the highlights, the top section here. Then you can right-click and consolidates. I'm not going say we didn't really need to and I can always go back in and make fine changes to this if I want. So I'm just going to hide the take lanes. And that's the main vocal done. So the next thing I want to look at is the vocal cues, which we've gots. So the 0, okay, Show take lanes. We can see that we've got four different takes of the ous. One is a male vocal, that's actually me. Let me just play that. So slit might draw tool and highlight them. So it's now active damage. And it really just going to add a bit of extra texture. But the problem is, because I've got them all on one or J track. We can only this NC one at a time. And I actually want to layer these up and sort of pan some of them left and rights are given much sort of bigger, wider, more atmospheric sound. Say what we're gonna do is actually take these and drop them on their own individual tracks. So drag this into an empty space in the projects. And I'll create a new audio track just for that. And I'm going to do the same facts. Let's just drag the guitar up, Says Above of who's just to give us a bit more space. O say, once you've cleared away and you can actually just delete that lane if you want. Say, I'm not going to carry on. So we've got female, take O3 of the ous, again, drag it down into an empty space, same with O2 and also a one, making sure that they're lined up with how they were originally. So we've got all of our who's now on separate tracks and we can just delete our original the GU tract as fine, say when I play it. So you can hear them all laid up now, which is really nice effects, but we can make that even more cool with some effects and also just a bit of panning. So you've got a male vocal take at the top. We'll just leave that where it is. And female vocal take 10, leave that sort of dead center as well. So on the second female take, we're gonna come over here, which is the panning. I'm just going to click and drag all the way down, which is panning it good way to the left. If I solo that. As you can hear, it's just coming out of the left speaker. And on the female 03, we're going to do it the other way and panic all the way to the rights. And when I say that as well, you can hit expand all the way to the right. And if we play that holds together, got an extra nice, really wide sort of effect scale. All right, so one last thing that I want to do here, because we've got all these different tracks. I am going to want to add reverb to them and probably sort of maybe a couple of other effects may be EQ and compression. Say, I'm going to select them all by selecting the top one, holding Shift, clicking the bottom one, and then right-click and group trucks. Now that all in a group and whatever effects I want to add light reverb, for example, I can just whack on right here. Let's just play that quickly. Again. Just for example, we're going to get see the effects in the next lesson. So I'm just going to turn it down for now. All right, so just a couple of things that don't see discuss, as I mentioned for those without the comping tool. So if you're using a version earlier than it was an 11, then when you record it, you would have had C basically put each recording onto a separate track. But in order to come to the media staff to do things in a slightly different way. So just for example, let's pretend that all these tracks here are different recordings, which are recorded on two separate tracks, which they are effectively. So if I wont see go through and pick the best parts. So the best thing to do is make a selection over the sort of phrase that you want, hit Control or Command plus e two then explicit, same for this section as well, and show command plus e. So we've got all of these sort of individual bits now. And what I'll do is actually just make the selection first. Hit 0 on my keyboard to deactivate them. And that'll literally just go through and activates the different bits. Have a listen back to them. Then if I don't like that one, I can select it, hit 0 to deactivate it, and then select Next one, hit 0 to activate it. And then I can just carry on listening through. Do you like that one better, maybe not. Let's try the next one. So a selected deactivate, second X1, activate pressing 0 again. Okay, maybe that's my favorite one. So then I move on to the next parts. And again, we listen through and just repeat the process of literary, just selecting and using 0 to mute and unmute the different clips. And that way we can just go through and choose the best ones. So it's basically exactly the same, just a slightly different way of doing it. So very last thing, if you have a Wilson 11 and you've received your vocals from a singer or whatever, an external source. So you have not recorded them yourself enables and you can still use the lanes function. And then you can add the different vocal takes all good politics or whatever to those take lanes. Say for example, if we received, say, Oh the guitar and I wanted to add these rules, the same audio track so I can use the comping to, or have to do is on the guitar track just right-click and go insert, take ln, and just keep inserting, take Haynes until I've got enough. And then I'll actually drag in all of the audio from wherever is a new computer onto the different take lanes. And then you can use the cropping tool to select the different regions. All right, so that is competing. In the next lesson we are going to talk about correcting, timing and pitch issues. Thank you very much for watching. I'll see you in the next one. 16. BTP AB Lesson 15 Timing And Pitch Correction: Hey everybody, welcome back. Say NSSE, we're going to look at correcting timing and pitch issues with a performance. Sacrificing timing issues is pretty easy and we'll get to that in a second. But correcting pitch enables and needs a bit of a discussion. Now, I'll make this very simple. Ableton does not yet, as a version 11 at least come with pitch correction software builds in. There are sort of ways to correct pitch using the tuna in a Bosons. Find out if a note is I have key and then manually adjusting the pitch of a clip. But that is a workaround best and hugely time-consuming. There are also what I sort of cheap and nasty pitch correction methods or plugins like MRSA pitch for examples, if you type in m also pitch free. And the first one you'll get is this. You do have to download a whole bundle and then you can choose only to install am also a pitch if you want see, and this is pretty much like the sort of Uji, old age 29 plugin. But again, these are already less than perfect and most of the time they don't sound natural to say that really leaves me with only two options. One is to get a perfect vocal sake, which although possible, is very difficult even for some of the procedures. Or you will have to use a third palsy pitch correction tool. The most well-known of those is called Melodyne, and enables you complete control over the pitch of a vocal or really any other instrument or that works best on vocals. It is incredibly powerful and basically as a must-have tool, if you're going to be working with vehicles very much. Now I'm not gonna go into how to use that here as that's well beyond the scope of a beginners tutorial. But just be aware of this as something to look into if you are planning on recording and producing vocals a lot. Now luckily, Laura's vague who needed various will pitch correction. Say what we have here is absolutely fine. Immediate needs to go any further on the pitch front. Let's talk about timing correction in Ableton. Say on this front lowers vehicle is again totally fine. Nothing there that stands out to me as meetings be corrected, but with the goods HA, which has much sharper transients, the initial sort of pluck of the sound is much stronger. This really needs to be very tight to the beat. So if I zoom in on the saw, hey, you can see that some of the hits that really fall exactly on the beat or bar lines, some of them are a little bit off, some of them are absolutely fine. But say that one, like it's a little bit late. That one's a little bit early. And when we play that, it just sounds a little bits off and also replace it. And again, the reason for that is that the transients are very sharp. So when I zoom in, you can see that we have a basically like a plot at the beginning of each hits, which means that it really needs to fool on the beats. Otherwise, it's going to sound a little bit odd, which is what it sounds like at the moment. So we definitely got some work to do here with the guitar and see timing correct? Something like a clip light SP, just double-click it to bring up the clip properties. Activate warp if it's not already activated, because this is what's going to allow us to adjust the timing. Just make sure it's all playing correctly at the moment. Everything's fine, so that's good. Now let's get into how swaps that say, let's just work on this first section here. So I'm just zooming in by holding Control or Command and use my mouse wheel ABS. You can still zoom in in the normal way by clicking with Mike von glosses and drag and down. And let's get right into here. And it's very, very simple to add a warp marker. Literally just double-click wherever you want one, say I want one right at the start of that hit. And you can see we've got this orange market. Before we start adjusting the time though, we need to add more markers and I'll show you what I mean, Because if we move this one, it moves everything before and after it. So if I just undo that and to make sure I don't affect anything later in the guitar part, I'm going to add another warp marker there. And I'm gonna move this warp marker. All of this post that will marker stays static, which is important because we don't want to mess up the rest of our guitar recording. So let's go through and literally just corrects every single guitar hit that needs it. So these ones are pretty much final day. That one's a little bit off. So let's just add a marker there because that's okay. So I'm not going to move that. And I have one here. Again, we need to add another marker further on civilian effects. Anything past that warp marker, and I can adjust that, snap it to the beat. That sounds absolutely fine. Just holding Shift and use my mouse wheel to scroll left or right there. Again, we're just going to keep adding what markers and then we can adjust the previous ones. Maybe we will just add on the snapshots of the beats, everything super tight. Literally this is what I'm going to do for the entire guitar track. Say it can be quite time consuming process as you would imagine. So every single hit bridges going to add a warp marker CSU, and then we can just sort of adjust everything as we need to. Let's do this section here. So that's quite a bit early. That wants to be snaps to the B as well. And then add another one for hair that I think is supposed to be there. Let's have a listen, make sure this is working out. Oops, just got that little bit wrong learnings to be there. So it sounded much more tight already. I'm just going to literally carry on going through here. That one's fine. Mountains, fine nouns, fine, That's fine ounces of fraction early. So I'm just going to add a point there. These ones also absolutely fine down here. So I'm just going to add a point. Snap that one to the red line. Sorry, I should be that want a big problem. And then a lot of this looks perfectly okay up to this point here. So I'm just going to go through and add markers. You really don't need any more information about it than this. It's that simple. You just go through and correct the timings. And this would be the same, whether it was with a vocal or a saxophone or whatever. Just going to be a little more careful with the vocal because sometimes as more of a lead in to work rather than the guitar where it's got this sort of noticeable attack on the vocalic might be sort of much softer. So you have to kinda judge a bit more where the beginning of the word should be, but the actual process of time stretching is exactly the same. All right, so I'm just going to carry on adding warp markers and correcting the time as I go through. So I'll see you in a second when it's all done. Okay, so I have gone through and time stretched literally every single hits of the goods off or zoom in, you can see how many points are added. But let's have a listen back and you'll be able to hair how much tighter than it was before. And then this bit was particularly sort of out. Okay, and obviously it's just the same for the last course. So happy days, we've got a nice tight guitar now. And in the next lesson we can move on to processing that's compressing and E queuing the guitar and vocals. Say, thanks very much for watching. I'll see you in the next one. 17. BTP AB Lesson 16 Processing Vocals And Guitar: Hey everybody, Welcome back. So in this lesson we're gonna get into processing the guitar and vocals. First off, I do want to just consolidate this guitar just because I've closed and opened this project since the last lesson. And for some reason, quite a few of the guitar timings are done. We're off. So I've just gone through and really sort of corrected it. Now what I'm gonna do is just consolidate this could solve so, so committed. And he didn't have to worry about that happening again, I'm not sure what that problem was. Just summing enables him. There we go. So I'm right-clicking on here and I'm just gonna go consolidate. And it will just basically make all of these changes to the timing permanent. I don't want this redrawn it that we can see all the time or what markers are gone. And now everything should just be nicely in time. All looking good. So that's fine. That's one thing done. Now we just gotta get into processing. So I call this processing as we are guessing, the guitar and vocals readies be mixed with the rest of the truck. Although some people might call this mixing is really just guessing. The vocals in. Guys are ready and any becomes mixing once we're getting it to fit with the rest of the track, what this is going to entail is compression to level out the volume. Any corrective EQ that mainly doing, say before we add compression will always do the corrective EQ first just simply because if we're going to be taking out, say for example, bass frequencies, we don't want to be compressing these base frequencies and then removing them afterwards because that will affect how the compressor reacts to the music. So we want to EQ first, then compress. So let's go to our main Vespucci going to double-click on that and I'm gonna go, you'd see the audio effects. And First-off, we want EQ. So we can use the also fills up for this. Let's drag that down. And I'm gonna change this to a low cut. And let's just change the filter frequency. So we're going to be looking at just removing any sort of base frequencies from the vocal. Let's just solo that for a second. But going down it's the opposite way. See much Marvel on and be wrong. Now we're doubling down on road. We guide. So what you want to do is bring it up to the point where you can just about here it making a change to the audio and then just back it off a little bit. Like going down, it's a five. What do headstrong never want to be wrong? Now, that's where you just really start to actually hear affecting the vehicle. So we're going to back it off, like literary that much. And that will just remove any of the unwanted sub frequencies that are in the vehicle. There are loads, but it's just a case of super tightening up every aspects of the mixed is just going to make it sound better over. So that is the EQ done for the vocal. And now we can move on to compression. Of course, we might choose to change the EQ balance a bit later on, maybe make the vocal a bit brighter, for example, but that's fine. We can do that after compression. That's no problem. Say, let's add a compressor to this so we get to dynamics compressor. I'm just going to click and drag it on. And I'm also going to add a second compressor. Now we'll get to why that's important in a moment. But it also helps us understand exactly what the first compressor is actually doing. Bearing in mind that the second compressor, and so we lower the threshold, won't actually be doing anything at all. So I just set it to 0 dB. And this compressor won't be doing anything. That's who we're just going to see what's happening from the first compressor. So let's get into it as a place, like going down. It's a fight for survival. What do had strong level on? And we can see sort of like the variance in volume or amplitude between the words, particularly at this point in the vocal. Later on, you can see they're already minutes bit bigger. Zoom inhibits. We have these sort of very quiet words and then a very loud word, say, let's just play that. Jane will start charging. So obviously when she says stars is much louder than it is when she's saying, We are children. And what this compresses going to do is basically turned down all of these louder bits. So they're more in line with the quite a bit. So let's go through the settings. Say the ratio is how much the compressor is going to turn the signal down after it's gone over the threshold. The threshold you will understand very soon the attack is how quickly it will take effects. We actually want to set this to as low as it will go, which is 0.01. And the release or say for this first compressor, we want to set that as low as it will go, which is one millisecond. It means that it's going to basically act instantly so soon as anything goes above the threshold level, it'll be compressed. Say let me just loop this section here. Control or Command L. Similarly, region of vista. What we have today is bring down the threshold until we start getting to the level where we are changing the skill again, we can see that that orange line, that is how much the volume is being turned down by whenever it goes over the threshold heterogen Vista, we children of the star. And if you see there obviously waves as James does, we chats where it's tiny it down more because it's getting much further over the threshold. So that's basically how the compressor is working. We need to change the overall volume. We can just change the output here up a bit because the compressor of disease lowering the overall volume of the stock. So this is referred to as the makeup gain, kerogen Vista church. And we can also see if we compare that see compresses, see we've got these peaks here. But on this version doesn't have that lung, the skin. So that's what the compressor is doing, simply leveling out the volume, nothing more. So let's get on to the second compressor and fights a while do is actually just delete this one for now. And again to duplicate this first one. This is actually quite decent technique if you really want a vocal or a guitar or something like that, to really be sort of upfront in the mix than doubling up the compressor like this is actually a really neat technique to do that when we are children of the sky. But of course it can sound a little over compressed. Sometimes it really depends how far you're pushing it. Say on this compressor we're going to change the settings a little bit. We're going to have a bit more of an attack upset about 17 or so milliseconds, and the release just up a little bit round about the same, about 37 milliseconds. So just change how it behaves. So it would let through sort of more of the attack of the vocal kerogen. We children. I'm also just going to slightly back off the threshold, just raising that up a little bit. Just because it's a little over compressed, but I think we're somewhere in the ballpark of it sounding good, urging this dye is we are going to do now is I'm going to bypass it. But first I will just explain that compression, especially if you're new to all of this, is actually quite hard to detect. You really have to listen for the variants in volume between these sort of peaks here and then these quieter words. And if he can focus on hearing the difference between that, then you'll understand what the compressor is doing. It's not like some magical process which completely transforms a vocal or any other instrument, is simply a tool to level out the volume. And the reason we want to level out the volume is because if we have these loud spikes in the track when we mix it in with the rest of the track, these loud ones are going to like suddenly jump out and they'll sound very out of place. And whereas the quiescent ones can get sort of lost in the mix behind the other instruments. So we have to level them out and then we have a nice consistent volume to work with. Much easier to mix it with the rest of the track. So without it, it's like this. Here again, the style we just listened see where it says stars, it's quite a bit louder, kerogen. And then with the compressors, gen, we can just hit as much more consistent volume wise and that is 0. The compressor is doing. So next up for the vocal is we just want to add a bit of reverb and perhaps even a bit of delay. So as is the same in every Abel's in projects you laid up for the first time, you'll automatically we have the reverb and delay Sensei. We can just add her giant reverb. This style. We have children and you can also ask the add delays, well, we'll get to this in just a second. It so without the reverb first urging, we have children. So it sounds kind of AK, but I want to change the settings a little bit. So I'm going to click the reverb channel to see the reverb plug-in. And I will see the decay time somewhere around 3.6 children. And I'm just changing the size a bit because it sounds a bit Calvinists when it's up here again, we have this guy. I think everything else should roughly be okay. I'm just gonna try diffusing the reader of a bit. Sometimes this helps, sometimes it makes it sound worse. So it's always worth playing around. You can never be quite sure exactly what's going to work until you try it. We see we need to back off the reverb bits here again. We children. Children. That actually sounds pretty nice. I'm liking that at the moment. Let's just bring in the other truck as well. That's just turn up this truck bit as well. Pretty good. But I just want to now back of the decay time slot is just a little bit too much. Okay, so that's sounding pretty good. They want it to sound too wet with reverb. So it's sitting like really far back and mix. It still wants to sound nice and upfront, but that sounding fine so far. Let's add some delays. So I'm gonna click on the delay here. So we can see the delay instrument that we got when we add the delay sensors solar the vehicle again, here again. Okay, So this is the delay plug-in and ableism is pretty straightforward how to use it? You got your left channel and you're right channel. So you can choose different delay times for each. We'll get to that in just a second. We also have the feedback. So this is like how many times it will delay for. So the moment. The delays last scene like a couple of seconds, but if we turn is right up, it will last a lot longer. So carries on for a lot longer summer around sort of 20 to 30 percent. It should be fine for this course, we actually choose how much we want, not with the dry, wet dial, but with the send amount here. Just for now, let's sort of have a bit higher than we would normally just to really get an idea what this is doing. Okay, So the one thing that we've gotta do is just choose the timing. So like I said, we've got left channel and a right channel. At the moment the left is set to three and so is the right. So we basically got mono delay. Both left and right delays are coming at the same time. If I change this to a four and plate will have some stereo effects. Which actually sounds really nice and that's pretty much perfect. Actually, I don't want to mess with that anymore. You can, if you want to change the hue of this safe, if you won't see sort of only have the high frequencies being delayed. This is what this OD, this time we met, we had to lay frequencies for example, but that's fine. We want to leave that sort of how it was to start off with. Just slightly more just to start. And then we're just going to choose the amount that we won't say. We'll just play with this until we get the balance. I'm actually going to unset it as well so you can hear the rest of the track. So I think that's pretty much spot on. I'm happy with that bonds. Okay, so next, I want to do the vocal ooze from the pre-course. So at the moment they're just a little bit too loud. So I'm gonna go to the group channel and actually just turn down the overall volume and unbalancing this to the other vocals and the main vocal take it wants to be level with that basically. Now one thing we can do is rather than setup compressors specifically for this, as they're basically the same vocal. But I'm going to do is actually copy the processing from our main vocal. Take say if I click on that and get all compresses and the filter as well. So I'm going to select one hold shift and select all three. Then I'm going to right-click and go Copy. Then I'm going to gates. You are group, channel and fat. Let's just rename this very quickly. Who's group? And then I'm going to just make sure we got our audio effects here section, right-click and then paste. And now we'll have all the same processing on these issues. It's a very nicely compressed air and that's probably a little bit too much. So let's just back off the threshold so they're not quite so extreme. That sounds much better. And then we just want to add reverb to this and delay. So we can probably have a little bit more reverb on these because they're sort of more, slightly more background in nature. Sorry, that's the wrong one and eats the artsy the group channel. Okay. And delay. Hey guys, what you think? Okay, So not sounding too bad. Now, also we've got the ad libs truck as well. And again, we can just paste the same settings here, so the filter, the compressors, and let's just play that moves, set the reverb up separately. So you just need to turn this up a bit. So I'm just going to use the gain on the compressor. Had it been a reverb and a delay? Let's just have a listen to the little sort of add Libby bits in-between. Little bit more reverb, pretty much getting the stuff. Okay, son in pretty decent. Smi is some happy with that. Now let's move on to the guitar. And again, I'm just going to paste the same compression and filter settings over and just adjust them as we need. Let's just play that. Now. These are a bit louder. As we can see, the audio waveform here is quite a bit louder than the vocal rule. So we're going to need see backoff the threshold a bit so it's not getting quite, say, heavily compressed. Also need to turn up the makeup gain a bit as well. That's absolutely fine. We're just controlling the level here. Say just flattening the volume out, which is fine. It's gonna make it very easy to mix later on. Now we just need to add a bit of reverb. Possibly delay. Let's have a listen. Okay, say signing roughly in the ballpark that now Let's just solo that. It's up to us. We're just going to turn it up a bit. I won't see sort of get it roughly about the same volume level as the vocal obviously will be able to change this later on just to sort of make easier when we do bring it in, see the next projects. We want to get it in the ballpark again. Just comparing the two is just making sure we get it roughly around the same. That's absolutely fine. I don't need to change it anymore than that. And now we're basically ready to export this so we can bring it into our main project. And what I'll do is explore all of the vocals and then the guitar track. So I will meet anything I don't want, which is the instrumental backing track that is. And I don't want the guitars in this particular render, just want the vocals. Let's export that. Again. I want escape from the very first bar up to 81. I want it to be 15, 16 bits, and that's absolutely fine as export. And I'm going to call it vocals processed. Obviously these will be in the workforce. So you can just bring in these in the next lesson. And then next we're going to do the guitar so we can just solo that. And then gave fall exports. Same settings bar one's about 81. Export. Um, acoustic guitar processed. See. Okay, that's it for this lesson. In the next lesson, we will get into actually mixing the truck. Thank you very much for watching guys and girls see you in the next one. 18. BTP AB Lesson 17 How To Get Effortless Mixes: Hey everybody, Welcome back. All right, so we are almost at the end of the course, but there is one really important thing and to do yet, we need to mix our track. In this lesson, we'll talk about what mixing is and why it matters so much. And I'll tell you how you can learn yourself up for an easy mixing experience in your own tracks. Say if you don't want to listen to this, you can skip on to the next lesson. We're not going to make any changes to the track in this particular lesson. Alright, so first and foremost, mixing is about balance. And the process of mixing actually starts at the very beginning of the tune creation process and can continue until the very end. 80% of that before you consider things like EQ and compression involves picking the right elements. In other words, picking elements that work together and compliments each other, rather than trying to occupy the same space, which will lead to a sort of smaller sounding and messy mix. Say like I mentioned, this is literally like 80 percent. If getting a good mix, the remaining 20 percent is then achieved through mixing skills like compression, EQ, saturation, balancing volumes, and so on. Now when it comes to selecting the right elements, there are a few things to consider which we'll talk about now. So the first thing is rhythm and making sure that you have a balance of rhythms, for example, you don't want to track, that is like ooh, shop plucky elements. I'm not saying that could never work, but a more balanced approach would be to have so to say to plucky elements and then the other elements in the truck almost sort of sustained. So in this truck, for example, we've got like the guitar and the AAP, which are both quite plucky sort of elements. But then we have the baseline and the pad, which are more sustained sort of notes. So it creates a kind of separation on a rhythmic level. So that's the first thing to consider. The second thing is we also need elements that will work together on a frequency level and on a Tom rule level as well. Say, frequency means picking elements that are not too close in frequency ranges. For example, if you have a singer with a high pitched voice, than you might want a lead that is not too bright and high pitched. Otherwise that Sue will be sort of trying to occupy the same space in your mix. And when you have two elements in your mixed trying to occupy the same space, you end up with smaller sounding elements, then I can guarantee this is the main reason some producers struggles to get big sounding vocals is that there are other elements there in the mixed, trying to compete for the same space. Say to remedy this, you could try. Is it a pissing the lead and OK, save down or up in pitch? And if that doesn't work, then try a completely different lead, perhaps with a different Tambora. Now, Tambora refers to the tone or the texture of a sound in a house. Some sounds have like a hollow quality, or they may sound really dense or airy or whatever. Well, that is the timbre of a sound. And why that is important is that you could have two sounds that sit roughly in the same frequency range, but they may still sound quite separate as they have very different timers or textures if you prefer to call it that. If you do choose elements that generally have different hombres, and if you can put that together with frequency range and a balanced mix than your mixes, it will sound good. But again, most of this comes from just picking the right elements. You can pick the right elements, then you're going to have a much easier time getting the last 20 percent out of it with your mixing skills. Now I know that can be a lots of taken if you are new to making music. But in the next lesson we'll sort of go through mixes truck. So you'll get to see this theory puts into practice. And if you are struggling with guessing the mixing process to work for you, then checkouts are mixing EDM masterclass, which is over five hours of lessons on how to get professional level mixes and really does contain everything you need to know and step-by-step instructions that you can repeat a news in your own tracks. All right, that's it for this lesson. In the next lesson, we'll get into the actual mix. Thanks for watching. See you later. 19. BTP AB Lesson 18 Track Mixdown: Hey everybody, Welcome back. All right, so in this lesson we'll be mixing the track and putting the final touches on it. Be aware that we have already done like 90 percent of the mixing as we have progressed. So there's actually very little to do, just some volume balancing and a few tweaks here and there and ready. That's what I've been referring to in the last lesson when I talk about picking the right elements is so essential to making mixing easy. But that said, let's get on with it. Say we're going to bring in the guitar and the vocal which we exported in the last lesson. So I'm just gonna go to children of the stars. Okay, to the bottom. And we've got vocal process. I'm just going to click and drag that into an empty space. Now one thing to look out for when you're bringing in large audio files is that Ableton might try and warp it and change it so it fits to the beat. So if you find that something he brought into the project is out of time, just double-click it and make sure warp is turned off. If he gets really annoying, you can actually changes in the settings are good options, Preferences, and then under record warp, launch, just turn off. Also warp long samples. You probably want to leave on for shorter samples because otherwise you're going to bring loops in like for while loops or whatever and it won't fit. So probably leave it on for that, right? That's the vocal. And I'm just going to bring in the guitar, says guitar processed. Drop that down the bottom and everything should be nice to just the guitar is a little bit and allowed sides. Let's just turn that down a bit. It's about minus 2.9. Vehicles all say just a touch loud, say let's just bring that down as well. About minus 2.9. That will do. So normally when mixing, I start with the drums, but as we've just brought the vocal and guitar, and I just want to get the balance of the guitar pretty much there. I'm just so it doesn't stand out like a sore thumb because it's not quite telling with the mix at the moment it sounds a bit dry. We're going to add a bit of reverb to it or more reverb, I should say as that does have reverb on it already, but we're going to add even more. Let's get right up. So about the scene 0.7. Okay, so sounds better already. And also before we get going with the drums, I mentioned before, that's the plug doesn't quite fit with the vocal. If I play it, you'll see you. I mean, go and download the notes that we've moved forwards half a beat, just don't really fit. Say we're going to go and change us. So I'm just going to hide automation for now. So let's just select the pad and let's expand the lower Zona bit. And all I'm gonna do is take the chords starting half of b early and I hold Shift and select. All of them. Say, Oh, today's and we're just going to shorten them up. And then I'm going to select the other chords, which in our two short and make them say that a full bar in length. And I'm just going to do the same thing with the pluck, which is in our synth group set is just select that and select all of the chords which Stein on the offbeats. And just move them now say that on the bar lines. And when we play this down, it's fine. It works much better. Now it doesn't matter that it changes when we get to the pre-course. That's absolutely fine. It still sounds okay. Okay, So sounding oh good that now let's get into the actual mixing process. I'm just going to hide the low zone and let's minimize the sinc group and go to the drums. So I've normally always start with the drums just because that's really like the foundation of the tracks as good to get these sounding nice and strong. And then we can mix everything else on top of those drums. So let's start with the kick. Now this is the one time that you're allowed to turn up the kick, say making sure that we're on the kick channel is changes up to about 2.2. So it's much more prominent, really having a big impacts in the mix. Now that's very nice, and that's pretty much all we're going to do for that. I don't need to EQ or compress it is. Okay. By the way, if you are tied or annoyed by using these tiny little faders here, what we can do is actually go to session view. And then if we expand this sort of lower zone here, we're actually got proper sort of faders. For example, say if you want to use proper faders, then just come to session view. To do that. We've got basically what it is, like a normal sort of mixer for all of your tracks. However, I don't actually mind using these. You get pretty decent, fine control on the low faders on the side. And because I didn't mess up my mixing by air rather than looking at it is absolutely fine for me. But one thing about that session view that is helpful is we can see how far we are close to 0 peaking on the mast out. So if you go to there and at the master out channel, we can see that we're not really getting too close to the 0 points, which is exactly why we turned the kick down in the first place when we actually started this project. Say always a good thing to do. All right, so let's move on and I want to do next the snare, snare sounding pretty decent, but it's just a little bit dry and perhaps could live brightening up just a touch. So first of all, let's just add a bit more reverb to about 8.7. Anywhere around, There's absolutely fine. Just helps us see a bit better in the mix. Now let's look at brightening up. So I'm gonna double-click the clap and we've already got an EQ on here. So let's just add a bit of high shelf that's just going to boost the high-end, as you can see. I'm just adding a little bit of fizz to that clapper. Very nice. And that's all that needs. Doesn't need any heroics. They're just tiny little tweaks to get it to fit better in the mix thing that closed hat. Just beat the fraction higher. Say minus 5.4, literally just a touch higher, and everything else on totally happy with that collapse, probably just a fraction loud now. So let's just turn it down a little bit just because he boosted the high-end. Okay, Happy Days. Just one thing that I do want to do with the drums and that is turned up this little fill here that we've got leading in the course. So it's just not quite loud enough. It turns off a bits 850. That's try that. As better, as much more noticeable now say let's zoom out and we'll go and do that for the second one as well. So the one's diet course 2.1. And put that up to the same amount of gains, 850 or something or anywhere around there be fine. Okay, Oh good. Now let's move on to the drum loop here. Say this sound a little bit dry. So we're going to add a bit of reverb. Accepting last week. That panic. Not see much just enough to help it sit in the mix. Let's play the transition again. Unless we knew that, Danny. Okay, that sounds great. So the one thing I do want to do that is dropped this beat out towards the end when that guitar comes in. So we've got the dean didn't have the beat dropped completely out. So I'm just going to go into this bit of midi. And we can just delete those notes at the end. Let's play that. Okay, that's fine. And the hat sound, this is really mixing at so, but just want to change it up a little bit. So we've got a double hat here. Let's just play the hazard is around here. I want it to have a double hit. So did I say, let's just go into that. Now the moment, of course, this is only one bar long, so he needs change length, which is going to change. This says four bars in length. And then we can copy over. By holding Control or Command, would have our hats. So you've got four bars of hats. And then on this last one, I'm going to shorten it and add in another one. So this is what a sand like. Okay, so just that little double tap at the end. What we'll need to do is also change these as well. So I'm going to delete all the rest of the hats that we've got. Closed hats that is. And then I'm just going to Control D to duplicate and then select them and control or command to copy across. Okay, Happy Days. Say that's drums done. Let's go and look at this S FX consolidated track things a little bit on the side of yes, just in the background a bit. See much say let's turn up the volume to about 1.9 to wish us better, Scott, much more impact. Now, this one symbol here in the pre-chorus 2 play that is the reverse. In fact, if I make this track void, you can actually see what I'm talking about. Say that very sort of quiet reverse symbol. Just much too quiet. So I need to change the volume of that. So I'm going to put my cursor or wants to split the audio Control or Command E, and then Control or Command E here as well. Now we've got this separate segment, which we can then turn the gain up of. And it's really crank this up to somewhere around here. Says how to listen back. Just a touch too much. Let's try about 6.5. Okay, that's absolutely fine. And then I just want to look at this transition here from V2 to pre-chorus to play that. So that could really do with a bit more of an impact there. So what we're gonna do is add a couple of sounds. So I'm actually going to add this from the work files. Impacts 22. Nice, big, deep boomy thing. Just going to drop that on the SFS consolidated track. Definitely want to turn that down quite a bit. That sounds kind of okay, but I also want to add a little sort of sushi sound to lead into it, which is mover, as you can here. But we've run out of space here. We can't put it on the same track because it will overlap. The impacts. Say we're going to add this to one of our drum tracks, which has quite a bit of reverb on, say, let's add it to top loop track. Let's just grab that. Drag it in. It says little bit out of time, just need to zoom in a bit. We really want this to sort of reaches peak about the same time as the impacts hits. So just going to move that foods that should be about perfect. Even try a little bit further back. Yeah, sounds good. And maybe even just send that down a bit as well. So just selecting it ends about minus 3.6 ish. Okay, navigate that source of the data a bit. Let's just have a listen to that section now. Okay, So that transitions much nicer now has more of an impact. Oh, good. Because she's minimize the drums again and I can make that affects channel a little bit smaller. Okay, so let's go back to the guitar. So I said a mike wants to tweak it a little bit more and I do want to actually add saturation, say double-click on the channel, and then we can drop in saturation effects. If you go to Audio Effects, go to Drive and color and you'll see saturated here. Drag it down. And then all we're going to play with here is the dR. Dy. We're just going to walk this up, but bear in mind that as you drive the saturates, the volumes going to be raised up quite a bit. So we'll need to balance it out by turning down the output. Let's just play that. In fact, this plate on the core section with it's soloed. Say just rebalancing as I turn up the drive. Ads even a little bit more distortion to it, a bit more color to the c. See we can bypass it and check the difference. So that's without, but the originals a bit see quiet. So I'm just turning down the output of the saturated say can really hear it just adds an extra bit of grit to the sound. Now let's have that playing in the mix. Just adjusting the volume of fraction that. Okay, they sounded good. Now the vocals pretty much perfect. Or they want to change much about a tool though we might give a final volume balanced, just this one. Literal letter that sticks out right here on do. It's like a really loud sort of snap almost say, let's zoom right into that. And what we're gonna do is snipped this. And you can snippet here. So just going to select it, select where I want to snippet Control E and then select say about here, Control E. Now we got this as a separate clip, which I can double-click on animal skin and send it down. Good thing is it gives us a visual representation of what it's actually doing or how much it's turning it down by here Sentence just zoom out a bit and play that sacred propagate down even a little bit more, just needs to zoom in a bit. Let's try somewhere up about minus 14. Zoom out a bit. It says probably a little bit, see much. Sorry, just going to get this right, and then we're good to go. That's perfect. Says like minus ten and I think there or there abouts. And then I think there's really just one more thing that I want to do and then we'll have a listen through so the whole track. But I want to add just a bit more of an interesting intro to the song. So at the moment it just starts like that, which is kind of AK, but I'd rather make it a bit more interesting and have a look, a lead in sound. Say, make these a little bit smaller. And let's see you all since grep, let me go a pluck sound. So what I want to do is have basically a reverse hits of this pluck sound. And to do that, because it's in Midea, I need to change it into audio. You say I'm going to have to export a small section. I just want Bar 5, t bar six. Basically. That's just solo this day. So it's the only thing that's been recorded. And then we'll take that as audio and reverse. It says gutsy file export. Say I won't scale from above five to six is going to bring this all the way down. Change that to one, turn off encode and B3 if it's on. And then export. And let's just call this reverse pluck and then save. Okay, great. Now when I gave the children of the Stoltz ODA photon will have reverse block, which obviously isn't reversed at the moment. That's finding, say let's scroll down and find a S FX track. Let's drop it on there. Now for some reason, it always renders out like a minimum of four bars. I guess that's just something in a boson. No problem, we're just going to shorten that up. So you've only got the very first pluck. Just needs to un-solo. The voice will pluck, and now we can play it. So that's what we got. Now I'm just going to select it, reverse and shorten it as well to one beats. That's all I want. And I also want to add a volume fader here as well, all the way to the end. So it's okay, but I just want to change the volume of it as well, just Lera and volume of it. Let's talk about 3D Bs. And then it doesn't sound quite right. Kind of guys were dumb, which I wanted to just be one sort of consistent sound. So I'm just going to move it in a bit and add a volume fader for this end as well as Suez sounds like that works. And we got better or slightly nicer intro. Maybe even that could be lower in volume. Let's try around 45. Okay, say sounding good. Now let's have a listen through to the entire track. And then if a need to come back and sort of make changes to anything. All right, Here we go. Now we go in down. The guy damage. You see? Enron is saying they saw the problems with that affect us. We're never gonna find stuff the plane to see what you think. So we just choose what steps would be. Okay? I've just nudged up the volume of the vocals a couple of times during the playback. So we're now at minus two just a little bit. See quiet and you really want the vocals be the main focus of the track. But there we go. We are now mixed and I'm quite happy with the result. I think it sounded pretty decent. Say That's it for this lesson. In the next lesson we'll look at mastering. Thanks for watching. See you then Bye. 20. BTP AB Lesson 19 Mastering: Hey everybody, welcome back. Choroid, say we are on practically the last lesson of the course. And in this lesson we are going to look at mastering the track. But first we just got a couple of very small little tweaks to make. As a music producers job is never done, ever. There's always like more tweaks that you want to do anyway. So I'm just zooming. See the reverse pluck that we've got right at the start of the track. Just want to make that a bit steeper. So you'll notice with the envelope fades that we've added. You've got the center control point as well. So you can actually sort of use that to change the linearity of the curve. I'm just having it as a slightly quicker sort of introduction into the truck. Couple of very minor things that I want to do. One is I want to take the symbol from here from the S FX consolidated track. And I want to add that to the star, the pre-chorus where the kick comes in, just feel like you could do that a little bit more impacts on here. So it just needs a little symbol. So I'm going to take this, put my play head there and hit Control or Command E just to cut that out. And I'm just going to take out four bars, say 29 to forsee three there as well by hitting Control a. And I'm just going to copy that by hitting control and dragging over or Command on a Mac obviously says that the startup pre correspondents have a little listen. Think that's okay. I'll just send it down a fraction. So I'm just double-clicking to bring up the clip settings. I'm going to turn the gain down a little bit. Just want it to be ready in the background. Perfect. All right, last two very minor things. And one of them is the gets Hoss, say in this first course that gets also sounds a little bit, Genki. What we're going to burn anything in it. It kinda just goes a bit weird and unnatural, but it doesn't do that in the second course. He said, I think it does. Let's just say that, that sounds right there, but this one sounds a bit odd. Say, well, I'm going to do is cut out the guitar hair. So Control E again and Control E, they're just going to select that and delete it. And then I'm going to shop this last chorus up to course 2.2 of the guitar. Again hit Control or Command E to explicit. And then I'm going to copy that cross. Because it's the same. That didn't work. Let's try that again. So it's the same guitar passing DNA. Why the first one sounded a bit messed up, just one of those things, but now it should be absolutely fine. Say that sounds better. Let's just play it with the rest of the mix. That source ID. And the last thing is just the vocal. I just want to nudge the volume of that up. In fact, sorry, a big amount I've already done that. It was on to just say no before the lesson starts it, and I was just playing around some nudged it up to minus 1.4. And this seems to me to be about the right vocal balance for this track. There's a couple of things to consider when you sit in the level of volume for the vocals or if you're doing particularly a radio edit version of the track, then generally speaking, radio edits have much sort of Louder vocals then sort of say Club edit, for example. Say that is something to consider, but I think we've got a pretty decent volume level here. Alright, so let's move on to mastering. Say, what is mastering? Well, it's basically adding the final balance to the mix and limiting it ready for exporting. And by limiting, I mean getting the maximum volume that you possibly can. Now when it comes to the balance positive that the technical part that is talking about EQ compression saturation perhaps. But you should know though that it's not really that easy to get it right, but it is really easy to mess it up. And for that reason, I don't recommend beginning is actually do anything more than just limit the track at the mastering stage. If you really feel like your truck is almost perfect, but you can't quite get it there in the mixing stage, then it's going to be almost impossible to be able to do at the mastering stage. And if that's the case, then it's much better that you send it off to a mastering engineer, or even perhaps try one of the online mastering services or they miss, they can be on some tracks. The reason for this is at the mixing stage, you have control over each individual elements, say really should have much more control and therefore be able to balance the mix much better. But at the mastering stage, we're talking about just adding effects or tweaks to just the master channel. So if the balance of the mix isn't right, It's going to be incredibly difficult for me to get it writes on a much broader scale on just one channel. So that's just my $0.02. Obviously, play around with that. If you won't see there's only one way to get good at something and that's to try things out. Generally I would say my experience, any people who have been producing for sort of like a year or two aren't going to be very good at mastering. It takes quite a long time. So you sort of get you air trained to be able to actually do a really good job. All right, so with this track, I'm actually really happy with the balance. Everything sounds nice and clear is o got its own space in the mix. So I don't really feel like I need to change the balance of the EQ or compress it more, or add saturation to the overall mix or anything like that. So all we're going to do is limit the truck to get the loudest possible volume, which is actually quite a simple thing to do once he understand what you're doing for this, we're going to do on the master channel. So I'm gonna double-click that to bring up the audio effects area. And we'll come over to Audio Effects and dynamics. We want to limit it. So I'm just going to drag that onto the master channel. As you can see, it's quite simple and all we're going to be changing is this gain dial here. But couple of things to look out for. First. One is that you want to always use the most intense part of your track to get the limit is set. So in this case, we're going to use Course 2.1. So I'm just going to leave that section by hitting Control or Command L. And the reason for this is ACP set the limiter and a really quiet part of your track. You'll be able to push the gain up quite a bit. But then when it comes to the course, everything's going to be like super squashed. So being a good boy set it to the sort of core section. And what we're looking for with the limiter is some sort of gain reduction on this meter here. So it will start from the top and it'll just show us whenever the limit has been reached and it's turning the volume down. So let's just play this now. So you can see that we're starting to get some action on the gain reduction meter. And that just means that now it's reaching the limits of what a Woodson can put outs and it's just stopping it from going any further. Let's say as a general rule of thumb, you don't really want to be getting much more than about minus three dB of gain reduction. If you're getting more than minus six is probably pushing the limits are too far, but somewhere between minus three and minus six at the most is probably around the right sort of range. But let's just have a listen by push it too far, then is just going to sound horrible. Like so. The idea is to basically limited to the point where you can't tell that the mix is being squashed and then just back it off a little bit. If you push a limited too far or that you are going to end up doing is changing the dynamic. So you'll be making the louder bit quieter and all the other quieter bits in your mix it again to get louder so it can ruin the balance of your track if you get it wrong. All right. So we had at 7.6, Like I say, I'm just going to back that off a little bit. Say 6.8, there should be about perfect. So as I say, we're getting a roundabout sort of minus 3 D Bs and gain reduction that's about perfect at gain of 70 B's. Obviously it will vary depending on how loud everything in your mix is, but that's literally fine. I don't wanna get anymore with that. And that's basically the trach done. So in a second, all at the whole track play three C can actually hear what we've made from start to finish. And that's really it for the main part of the core, say congrats on making it this far. I hope it has enabled you to make music in Ableton has been an absolute pleasure to teach you. And if you do have any questions, let me know at John bonds produced.com. Also, we have loads of other tutorials in many different genres which can be followed along in any DAW. And tutorials on music production specifics like mixing, music theory and song structure all at bone to produce.com. If you are interested in how Ableton session view works, then you can watch these videos which are part of this tutorial. And now you understand and can use Arrangement View. Learning how to use Session View is going to be much easier. Thanks so much for being with me guys and girls. Take care. See you in the next one. Click Go and down. It's a fight. Within the C. Is C. We're back to us. We met that funny. Let me see. Sweet. 21. BTP AB Lesson 20 Ableton Session View Part 1: Hey everybody, I'm John from bone to produce. In the next few lessons you're going to learn all about Session View and how to use it. So one of the advantages to session view, you can jam with the different clips and come up with arrangement ideas, fuel truck. And of course, it's incredibly powerful for live performances. So let's get into it. So these channels in session v are exactly the same channels that you see in arrangement view. The difference with Session view is that there's no visual timeline to arrange your clips on. Instead, we have clip slots where we can create drums or melody clips. And we have these rows, which are referred to as scenes. But we're going to get to that in just a second. First off, let's actually just load some drums and get a beaker. Just note that this tutorial on Session View is part of a much bigger able, some beginners tutorial where we make a complete track from start to finish with that tutorial in the work files are all the ODA samples I am about to use. So if you are watching this on YouTube or link to the free work files in the description so you can follow along as well. Now if you're just using audio loops, you can simply drag them onto an RJ track or you can drag them. See a blank section over here and Abel's and will ultimately create an audio track for you. If you're going to be using one short drums like we are, then you need to load them onto a midi track. So just the same as if you were in arrangement view. We select the midi track that we want. Then we come over, find the sample. We're going to use one kick. Then he double-click and then I will load onto the truck. So at the moment that's not going to do much. I need to create a clip of the kick. So it's D that which can just double-click on an empty cliques lot on the kick channel. And that brings up our midi note editor. So I can zoom into or out to you here. And I'm just going to add a few notes. Now as I add it, you're not hearing anything that's because the preview button is not enabled. So that will give you now RJ feedback. She can hear our kick going in, so I'm just drawing in for kicks. And in order to hear that playback, I just need to launch the clip by pressing the little play button, which you can barely see. It is right there. Okay, let's just turn that down a little bit using the volume fader here. It's going to unselect minus 6.4. I should be fine. We'll look more at playback in just a second. But first, let's add a couple more elements to this project so we have a bit more to play around with. So again, I'm going to select my midi track and I'm going to find superclass, double-click it to load it. And again, I want to create a clip on this track by double-clicking. Let's just expand that a bit. And I'm going to, as with any snare, pretty much always on the second, fourth beat. But as he can hear when I play it back, It's not actually playing the clap. And that's because I need to launch the clap clip. Navigate inheritance. Just turn that down a bit as well. Now one last clip, I once ADH, which is a hat. So I'm going to just right-click and insert a midi track. Let's just drag that. So it's next to or other midi tracks. And again select it. And then I'm going to find closed hat 08. Double-click again, I need to make a clip for this. So we double-click on an empty clip slots, and I'm going to add this to the offbeats. Let's just zoom in a little bit here and copy that across holding Control or Command. And then we launched a clip. Turn it down a bit. Now we have a basic beat for now, so that's great. All right, Let's talk about playback in session view because we don't have a visual timeline like we do if we go to the Arrangement View. So we have like a more sort of non-linear way of playing back in session view. And the best way to think about this is that you kind of have global level playback and then contained within that you have clip level playback. So for example, let's just press the stop button on all of these clips just to launch all of the clips. So none of the play buttons are green. And if I hit play of z doesn't sound like anything that she plane, but the truck is actually playing back. We can see here. We can also see on the arrangement position that the truck is taking over. But if I want to hear a clip, I then have to activate it. Okay. And we can go through this one by one. And you'll notice that the clips then actually starts straight away. They start at the beginning of a bar and automatically syncs whatever you're playing automatically to the beat. Say, if we play this and I want to launch my hat, you can see that it happens at one bar increments. The same thing goes for when I press stop as well. That's controlled by this setting here, the quantization menu. So we can change this to say, four bars if you want see or we can change it to a beat however you want it. The stock setting is set at one bar, which is probably the most useful. And if global playback is stops and you click a play button on any of the clips, it will just launch a global playback. Any clips that have the green play button on. And it can be a little weird to start off with, but you will get used to it quite quickly. Now just so you're aware as well, you might see these little red circles on particular tracks. That's because this truck has been armed for recording. So if you want see, change them back to squares, stop buttons, you can just deactivate the arm button. All right, let's very quickly look at scenes. So if I say, for example, won't see have just the clap and the hat as my first verse, for example. And I want to have the kick clap. And as my course, well, I can do that using scenes. So if we remember, one of these rows represents one scene, the next row represents s2, as we can see labeled here, C3, C4, C5. And there's more if we scroll down. So let's say for example, we want just the snare and hat on C1. So I can click this clip here and just drag it down and move it. I can also copy clips by holding Control or Command and just clicking and dragging. Same with a hat. And then if I launch the scene, you'll notice that even though we've got some clips here which on launched, when we actually launch a whole scene by pressing the Play button on the master channel, it will activate all of the clips in scene one. And if we will see switch over CNC, we just press the button. If you want to go back to Scene 1, we just press the scene playback button on the master channel. And again, this is controlled as well by the one-bar quantized. So it's nice and easy to switch between scenes as he played back, right? The last thing in this lesson I want to cover is just the Sends. So if you want to add a reverb to something, the default Ableton project already comes with a reverb and delay sets up on the send channels, which you can see if you double-click them, you've got the reverb effect there. Say if I want to add reverb to say the clap, then I just need to turn up, send a same with the hat. And then we've got reverb or delay if he want sees the layers on the bees end. Alright, that is the sort of super basics of how Session View works. Of course there is much more to it than just that. And in the next lesson we will look at recording midi and also healthy record what you're jamming with in session view, into Arrangement View. Thanks very much for watching guys and girls see in the next one. 22. BTP AB Lesson 21 Ableton Session View Part 2: Hey everybody, Welcome back. All right, so in this lesson we're going to look at recording a midi and audio into a session view. And we'll also look at how to record your arrangements to the arrangement section of Ableton. Now, as you'll notice, I've taken the liberty of adding to the project or bits of any added pots from the original cheats. 40, say we still have the same kick and hats, but I've added a few instruments like the pluck, a pad, and the baseline as well. And also in open hat feathers that I've just placed a couple of groups in there. So if you've watched the main part of the tutorial, you'll already understand how to do that. So you just go side chain group for the pad and the base. And then I've just grouped up the drums just because then we can hide them nice and neatly. So that's what these little sort of hashed areas are, just shows that we've got something in that scene on that group as a lay off. I've also gone through a named each scene. Say we got like verse 1, for example. Just the pad and the pluck. And into the pre-chorus, the kick and the bass, then into the chorus, the hats. And then Course 1 point mom, with the open hats. It's averse to which we're going to actually record in a bit. Now, save this. I just want to record in like a basic hat pattern or just a different pattern to what we've got here, which is just a standard of p-hat. And I want to record just another hats passing over the top of that. So super easy to do. First of all, you got to make sure that the truck or the channel that you want to record onto has Record ARM selected. Say you wanna make sure that bone is red and you'll see the buttons which are normally Square, turned two circles for recording icons. Or you've got studies hit the circle and it will start recording. Just a couple of things about this before we actually start. Now I do have a midi keyboard. I'm just going to use my typing keyboard for this. And if you want to do the same, just have to make sure that this little symbol up here is selected. And that means that when I press the key on my keyboard, like I'm doing now, I'm pressing the achy, the sample is playing. This will only work on a truck that you've got record arm on safer gave you say the pluck for example, and press a key on my keyboard, is going to play that instrument. So you have to have record on in order to use your keyboard as well. So just give you an idea of which keys you can use if you just Google like Ableton typing keyboard, go to the images section and then scroll down. We got this little image here, which is probably the clearest one. And it shows you what all the keys are on your keyboards. Say you've got basically an octave that you'd have on a normal keyboard. You've got all of the white keys, C, a to C, and then you've got your five black keys as well. Say when using samples like we are when triggering samples, video-based important key is a, because that is playing the note C, which is C3 by default, if you want to change the OK Save, you can press the OK Save or x to raise the OK Save and ready. Those are the only control that you need to worry about. Say when I'm in a bus and I'm pressing the achy again to trigger the hat. Also on this, if I actually do hit record, we're going to have a lead in of one bar is set up here. If he come up to this little drop-down menu, click and we got the counts in as one bar. So it's pretty Handy's have rather than it just starting straight away. All right, so let's just record this in. Say just that simple hat. Let's just play that back. Obviously it sounds a little bit sort of our thymocytes just double-click and go into the Piano Roll. See you in a bit. So we can see that the knights just aren't falling exactly on the offbeat, like they're spaced. Now we've got pretty fine control here with this quantum is saying, so I'm just going to right-click and actually change this to adaptive grid medium cyst, a bit sort of easier to use. And then I'm going to select all of the notes just by pressing the C3 note, which just automatically selects all of them. And then we can quantize them, which you can either debug a and C edit or you can use a keyboard shortcut Control or Command on a Mac, you. Okay? And that just snaps them all nicely to the grids. Just play that. It's like just a slightly different person in that section. And v2, when it comes to recording audio, exactly the same thing applies. I'm just going to right-click and insert audio track. And I'm going to omit again, very important. Now one thing that we covered in the main tutorial as well is that we just have to set the ODA him up correctly. So we've got it set to external input, which is perfect. And then you've just got to pick the channel that you're Mike is plugged into. Say, in this case, on my audio interface, my microphone is plugged into audio input. One can see obviously that we got some action when I'm talking. Now I'm just going to record in something terrible sentence. Just do that quickly. La, la, la, la. All right, Let's la, la, la and psychosis that's going on or repeating too quickly, then we can change the length of it. Let's just change out the two balls. It might sound a little more normal. So that we get as health record in RDA or PC. It's just a rough thing as an example. And let's just mute it. That's much better. But it's literally as simple as that to record an audio. Happy days. All right, so the last thing I want to cover in this video is recording your arrangements to the Arrangement View in able to say very, very simple. In fact, let's just delete that because I got some stuff there for me messing around. So let's get rid of it. Okay, right, SI Session View and is super, super simple. But we got to do is hit record and then we stop playing or different scenes. Or you can just literally starts with an individual clip. Just remember that whatever clips have the green arrow on the Play button, they are going to play as well if you sort of start playing anything else. I'm going to start with one. So I'm just playing that to get the correct eclipse launched. And then we'll just go through this very quickly just so we can then see what it looks like. So I'm just going to hit quota. Okay, and then I'm stopping there. Alright, let's skate, see Arrangement View. And we can see there, we've got all of our hearts recorded in. Now one thing that you'll notice is that they're sort of grayed out in order for them to actually work, we need to click that little button there, just going to extend my drum grapes so we can actually sort of see this a little better and then just play it from the beginning. Okay, So we can obviously see the exactly what I just played as just being recorded in the Arrangement View. And now we can just build on this or tweak this at SFS sounds and all that sort of stuff or cost, we can go back to session view and redo the whole law if we want. No problem. But it's just a great way of coming up with a new arrangements. Were coming up with any arrangement. It's so close you don't have to stick to the individual scenes. So for example, if won't see you play the first verse and then I won't see it in the ape and I can do that. And then he can jump to a scene or whatever, or just keep jamming around and just come up with something kind of interesting for your arrangement. All right, so that is really the most basic overview of Session view, but it should be enough that you can actually get started making your own tracks. I'm messing around in is one of the most powerful live performance bits of software that exist. Thank you very much for watching guys goes See you later. 23. BTP AB Lesson 22 Sound Design Pluck (from lesson 3): Hey everybody. All right, So in this video we are going to make the pluck sound that we used in lesson 3. This out. Very nice pluck sound and is made in vital. So let's just bring that up. Now again, if you're watching this and you're completely needs voices, then definitely check out our free vital tutorial, which sort of covers all the basics of how the synthesizer actually works. If you want to see that just google vital since tutorial and go down and look for the tutorials from bonds. But Jesus, either here on youtube or if you go down a bit, the first organic link should be bond to produce.com, wavetable synth for vital. And we got all of the lessons here. Say the first few lessons are enough that will acquaint you with how the synthesizer works. And then you'll be able to follow along and actually make these sounds yourself. Start to understand how sound design in voter works. Say, this is our sound. I'm going to initialize the preset. Am I going to make it from scratch? Say that's the default sound? And the first thing I'm going to do is actually start with the sampler rather than an oscillator saying going to deactivate the oscillator, activate the sampler. Now at the moment it's got white noise playing. The white noise is literally just an audio sample. And we can actually choose to replace the audio sample with any other audio sound we want. So if you go to the work files and find the BTP one, pluck a one which will be in the OJ folder. Just going to literally click and drag that and just drop it onto the sampler in vital. And you can see that it's loaded up, say let me quickly play that. So at the moment you can hear it's not playing a melody, it's just playing a single note. Say in order to make it musical, we need to activate that low keyboard XYM. And we're going to turn off loop as well because you don't want it to loop now when we play it. So this sample is going to act as the base for the sound or the foundation of the sandwich is going to turn up, turn down the overall volume here. And then we're going to see basically embellish it by using some of the oscillators in vital say let's activate oscillator 1. Just going to turn it down a bit. Otherwise, it sort of overpowers a pluck sound. By the way, this pluck sound is actually from our very own sample pack from House tools. One backpack has loads of really awesome pluck sounds, base hits, and great drums. In fact, it will be on the drums in this tutorial are from that pack. So check that out if you want. Carrying on with this. So we set the volume level and now I just want to add a bit of unison. So if he followed our free beginners tutorial on vital, your already know how this works. It's going to turn down the unison amount of bits. There we go. Okay, so that's the sort of first layer. Now let's add another one. Again, just going to turn that down. So it's not the overpowering. But this one I want to have an AAC saved down. So if I hold Shift, click and drag on transpose, that will lower it by one. Ok. Save. And it's thickening up the sound already, but let's have two voices just to spread it out a bit. Again, we'll go down to about 12 percent to unison. And let's activates the last oscillator. And this one we're going to have an OK save up. We'll say, let's turn that down a bit. So what we're doing by having all these different octaves, if I completely remove our pluck sound, we can ever getting just a much thicker sound than just having, say, the single one in one oscillator. You got the level slicer though. It just has the effect of making a much nicer, more full textured sound. So this last oscillates at, let's actually just whack that right up to have the maximum amount of voices that 16 voices. Renin unison, a touch, just a little bit, 2D tuned. There we go. Our backup lock. So now we've got the texture corrects. All I want to do is shape this dynamically. Elizabeth, say emulate one is automatically the envelope that controls the volume of the sound. So what I want to do is turn down the sustain a bit. Maybe the decay as well. Just to give this more of a pluck sound. Touch more release. You can try sanding the attack write down if you want as well to make sure it's really super plucky. And I'll say summer about that. She sounds pretty decent already. So we're good. Now I just want to apply a filter so we can use this later on to actually change the sound in the breakdowns or buildups or whatever. But at the moment of z, you can hear that it's not having a massive amount of effects because only oscillator 1 is being routed through to Phil's one. So very easily we can just route them all two fields, one by selecting all of these boxes. Now we're here that it affects it. Just want to turn down the resonance, not all the way down, but almost. And we'll just have it fully open for now. But later on, obviously we cancel to choose to stop bringing this down to get a nice effects in the breakdowns and stuff, right? So last thing, I want to add some effects, so gates to the Effects page. First thing I want to add is a bit of distortion. And really we're just adding this to thicken up the sound. But it is very subtle and it's not by like loads, It's not like thickening out by sort of 50 percent. It's more like five to 10% to say. Let's just play around with this. Basically just adding a very subtle amount of sort of saturation really more than anything else. All right, Next thing, let's add a bit of delay. So this say one thing the 3D that want to do and that's distort after the delay. So we're going to grab the delay and move that down so it's underneath the distortion, say the signal path goes from top to bottom. So pulse through the distortion plugin, then through the delay. And I want to change this to ping-pong. So it's got a nice stereo effects. Just wanted to end on the mix of bits. And it sounds pretty nice, but it still sounds a little bit weird because it's very dry snow. So we're going to activate the reverb plugin. Just turn up the time of bits. And let's just get the overall volume of this so it's a bit higher. We didn't wanna going into the red hair, but just having it much closer to the 0 is way better. Say there's all sound, sounded pretty decent. Let's just go back and compare it to the actual preset. And that's pretty close. Okay, So one thing I did forget to do is actually put in the EQ, sorry about that, but that's fine. All I've done there is at this low cuts, which actually is perhaps a little bit too extreme. I'm going to back that off a bit. But that's all we've done there is literally we've laid it out the E key, say activated it, and then just change this from a low shelf with which it is by default. And we've changed that. So low cut, say, perfect pattern, that is exactly the same. All right, so that's it for this lesson. Thanks very much for watching. I'll see you in the next one. 24. BTP AB Lesson 23 Sound Design Rolling Bassline (from lesson 3): Hey everybody, Welcome back. All right, so in this lesson we are going to recreate the baseline in vital, this particular baseline. Say, and I sort of deep but rolling kinda baseline. So let's go into vital facts. Actually that's just solo this first one. And I'm going to initialize the presets and stuff from scratch. All right, so our first oscillator, obviously sounds that way. I'd say, let's just change this down in pitch. So we'll hold shift and we'll drag this down says two oxide to the minus 24 semitones. Obviously that sounds like a big wet fart. Say we don't want that. Let's click on hair so you go in to choose a different waveform will get at the factory Bank because that's available to everybody, even if people with the free version. And we'll start off, we got a sine wave. So it's very nice. But if we scroll through, we finally got there were these sort of different waveforms. We want this one, it's like a cross between a square way, even a sine wave. Very nice, but it does have a click to it. So I'm just going to raise up their tight. You'd hit Run. It plays when the first note hits, it's just going to click. So I'm just going to move the attack up a little bit and just gets rid of that clicker. I say just saying, hey, that's house or get rid of it. Okay, So sounding all good but I won't see you. Make it sound nice and thick and wobbly. Say we're going to add 16 voices to this. And what he sounds much nicer, but it's probably a little bit to the chin that's just try a little bit lower. That's how I have any original preset. You probably could get high with that if you wanted to, but that's fine for now. So that's activates oscillator 2. And again, just say no, we are kind of going through the whole creasing our texture phase of sound design. Then we get onto sort of shaping it and filtering it again. So let's go and grab the basic shapes waveform. And we're going to use a square wave. This I just move the frame amount up until we get a nice square wave. Again, we're going to lower this in pitch, say hold Shift drag down. So obviously it's a bit too much. Let's just change it so it's routed through filter one that's activate feels warm and turn down the resonance not all the way, but almost all the way. Just to sort of make it a bit more like the finished products. And then we're going to walk up the voices again and even raise up the teaching this time. Unless certainly getting somewhere. But let's just mess around with the sort of spectral morphing capabilities of vital. Say here, we're going to select harmonic stretch. Obviously you can sort of mess around with this and choose assessing that you think works. Now, I basically picked some I like this for the original is it just had that nice kinda gritty base sounds her. But if you really want to see, you could pick a different sort of setting for this, but that's where I went for. Okay, Happy days. Now let's go on to the next one. Say we've got this, we'll just leave it on the initialized preset, drop it down in pitch, and let's just Bush's up to about six voices. Now, we just need to route there. So it's going through filter one. Say no to a huge amount, just adding a little bit of extra texture. But in the grand scheme of things, in fact, we could probably even leave that out or try and save. It depends on what you want. But we're seeing, but that's why we leave at minus 24 like the original patch. Okay, good. Just raising up the cuts off a little bit so you give it a little bit more noticeable grit. And it's gated effect of age. And first thing I want to add is distortion. Say we have this on post. Changes the sound again, again at more sort of gritty type sound, which is nice. Let's add a bit of extra movement using a phasor. So I'll say that just stops these weights a0 much to start off with. Say just set it to mix down, but the rest of the settings absolutely fine. And let's add a bit of reverb. Just turn up the time a bit, it's just a bit tissue and it's a MOOC, the 10 and the mix a little bit. And now we're going to be basically guts are rolling. Bass sound. Scientists compare that, see the presets. Any differences? I think the cutoff a little bit higher on the preset we just made. That. Isn't that pretty much exactly the same. All right. Lovely. Thank you very much. Oh, she goes it goes to see in the next one. 25. BTP AB Lesson 24 Sound Design Pad (from lesson 6): Hey everybody, Welcome back. All right, say in this lesson we are going to design in vital, this pad. Just for a second, I'm going to remove it from the side chains group just so you can hear it without SLI chaining. So I've just sort of general, easy had to make, but let's go and design that. So I'm just going to go into vital and I'll initialize the presets, okay? As with most things in voice. So we sort of work on the texture of the sound first, and then we work on the dynamics and any filtering and stuff. Obviously. Lastly, effects site, let's just get the texture correct. Say that's it, the moment, obviously it's not very nice. It's just lower that one a bit. And we're going to add a bit of unison scale about six voices. Just going to back off the detuned a little bit, just a little bit on the heavy side. That's absolutely fine. Let's go and activate of slated to leave that at its standard pitch up. Voices just to thicken up the sound, will say load the detuned a bit. Just going to back off the main volume a little bit. 16 is the red there. Okay, and activate oscillator 3. Again. This is all just thickening up the sound. Say we'll learn this by 12 semitones. And I'll just leave that on one voice. So it has a kind of find an effect of steadying up the sound when you have oscillators in there, then you one voice. So if a play on its own, you can hear it so very centralized. This is the way I would describe it, not just in a panning sense, but it's more sort of steady. But when we add the other oscillators which have unison, sort of really ties it together nicely. So it's just adding layers of texture. All right, say that's absolutely fine. Very simple to do. Now let's just go on and dynamically shape this. Now there's not a lot to do ready or we want to do is add a little bit more attack. But we didn't really want it to sort of dip in volume every time it gets to the end and then stops on the next note. So to combat that, we're going to add a bit more, release some pads. We'll see having a really high rate. This one I don't think really does. It just wants to sort of fill the gap that we crazy by having a bit of attack. Say, somewhere around here is absolutely fine for this pattern. Okay, that's fine. And then I just want to activate filter one. I want all of these oscillators going to hills one sailors select them all here. By the way, if we got an oscillator which says it's going to filter 1 plus 2. And filter 2 is deactivated, is basically only going to hills one. So don't worry that it says 1 plus t. All right, so that is pretty much it that they need to do anything more than just won't see add some effects to make this a bit more slicing. So let's go and add the first one which is going to be a compressor. Say without the compressor, just bypass that for a second. Sorry, I beg pardon. I need to turn up the filter amounts and just turn down the resonance of celibacy. We can use this throughout the truck to automate this. So you can have sort of deeper sounding sections with the filled symbols down. So leading up o energy increasing sections by automating the up, et cetera. That's fine. We'll just leave it there for now. Let's go to the Effects. And I'm just going to activate the multiband compressor because that's just a really nice effects, even just adding it as a stock effects and not actually changing anything you say can he has quite dramatic change even though that's literally just the stock setting and that's absolutely fine. I'm not even going to touch it. I'm just going to leave it like that. For some sounds. It just has a noise sort of warming effects on the sounds that come out voices. Now it's not always a good idea to put it on, especially if you're using a more sort of lucky kind of sound because you can reduce the dynamics. So you basically sort of take the pickiness away from a plug, but it depends on the sound, so you can mess around with that. But for this, perfect, Now let's add some modulation to this or modulation effects to give the pad a bit of movement. Just see, sort of keep it a bit more interesting. So let's first add a flanger. Helps. Yeah, it sounds a bit too over the top to start off with. So we're just going to back off the mix and with a bypass. So it's a very subtle effect, but it does just give a bit of movement, especially to the high-end, I think is where you sort of notice that more. So if you're struggling to hear the effect just sort of focused more on the high frequencies and you'll get a better gross against add a phaser. And again, this is going to be way too much when it first starts. So just back-off the mix straight away. And you can hear it giving it that sort of noise, slowly evolving kind of sound. That's perfect and exactly what we want, say lost. We'll have a bit of reverb. Time on this though. Bits like we do on most of the presets. Just to give it a bit of depth. And that is lovely. And that's it. That's literally the pad made. So let's just go back to compare it to our preset. Say here's the one that we made up of the actually, say that's it. Let's load up the preset. There we go. I'm say it sounds basically exactly the same. Very nice, easy things to make is a pad in vital. And of course he can take it a lot further. You can make it really sort of modulated pad. We could stop messing around with LFOs and all sorts of things. But in this truck is not going to suit it. We just want something that is nice, is steady in the background, which just adds that sort of atmospheric layer to the track. All right, thanks very much for watching. I'll see you in the next one. 26. Lesson 25 Sound Design Arp (from lesson 6): Hey everybody, Welcome back. All right, so in this lesson we are going to make up from Lesson 6, this one. Now just bear in mind that the actual pattern itself comes from Ableton. And we just literally playing chords which are then being arpeggiated in a pattern as per the actual up effects, which is this down here. So vital itself doesn't actually come with an arpeggiator paid, not yet anyway, I hope one day that mastoid cell will include that in vital, but as of yet, it's not in there. So you either have to have a up midi effects which will give you that from codes, or you'll have to actually go in and make your own up possum, which is pretty simple and is later videos about how to do on the Internet. So I'm not gonna go into the hair while I'm interested in here, is how to actually design the sound that we've made. That nice sort of plucky sound. Alright, so let's go into voicemail. So I'm just going to load up the vocal instrument. That's it At the moment, I'm going to initialize the preset and we're going to make this from scratch. Right? Now. I'm just going to raise the first oscillates up one. Ok, save, not going to add any detune or unison or anything like that. Activate the second oscillator. Just want to get that really high pitch sort of pinky kind of sound. Now we're going to use this as well, so it sounds a little bit harsh at the moment, but we will add some voices to this. We just bring the detune amount down. Well the unison amount them. Okay, we will do more to oscillates it to in a second. I just want to get the third oscillates in there. So we're going to walk up the voice amounts and just reduce this Elizabeth down to 13 percent. Okay, so we've got a very basics of APA kind of sound now. And to be fair, the AP effects in Ableton is actually sort of giving it that kind of pinky kind of sound, that nice sharp plucky kinda sounds. Say we will shake this a bit. So let's just turn the sustain down and the decay a bit as well. This is normally how you would shape the ARP, especially if you make the pattern yourself, rather than using a plug-in to do it, you'll need to do this. Skip it out. Really nice plucky kinda sound. Now envelopes see what we're gonna do is we're going to add an effect to this. A wave shaping effects will spectral morphing effects called smear. Now as a minor change to it, but it does have an effect. And we're going to use and Blake 2 to modulate that affects just going to send down the sustain on emulate, see. And it kind of gives it that sort of shimmery almost effects having that modulation on there. So that's just adds a bit of movement to the actual op, sound. Most are going to add a filter to this, just going to back off the resonance slightly. And also we're going to use embolic to see modulate the filter cutoff. So we're just going to drag that down. Bits out, sorry, and we also need to route the other sounds through this filter. So just activate them down there. Let me guess better. Say it sounds better when you filter it. And you've got this on an envelope, especially when you bring the cutoff down, you get that really nice, sort of dense kind of texture to the arpeggiator. Okay, so we'll just leave that for now. That's fine. Now before we get into the effect side of things, there's one thing I want to do is use an LFO to modulate the pan of this just so it gives it a bit more movement going slowly, sort of from left to right, rather than just being quite say, static as it is. So using LFA-1, we're going to drag that. So it's on the pan of oscillator 1 and oscillator 2. And on oscillator 3, on the pan of each one. Probably won't see back it off a little bit, but we'll get to that in a second. So what I wanted is have this going nice and smoothly. Now at the moment is just triggering every single time you hear note. So that's no good. We need to change that. So it's on sync. They inherit being pound from left to right. There's a bit too quick. So we're going to change this from one to two to one, which means it's going to take place over two bars, as we'll see. You can have on triangle if you want, or you can change it. See something like sinewave, which gives it a more of a sort of nonlinear kind of effects up. See how you do it, of course, but I think it sounds quite noise. Just going to turn this up a bit as well. All right, so I'm just going to back these off a little bit and scale down summing point 64 ish doesn't have to be exact. So you just say the panning, not see crazy. And you might notice what's happening when we look at the pan is assignee panning in one direction and then coming back. That's because the modulation is starting from the center point. What we need to do in order to have this panning back and forth is right-click this and change it to bipolar. Say, I'll just do this for u3. Now what you'll see when we do it is it starts on one side, pounds to the other side. So we're getting an equal amount of pan on the left and the right. You can choose to have a bit more of an extreme panic if you want, just turn these up maybe about a school, something. That sounds pretty good. All right, so that's basically it for the main page settings or the voice page, that's gates to the Effects page and start adding some effects. So first-off is add a compressor. Now you can hear it adds a nice bit of attack to the sound. So that's actually quite cool. I like that. Next up is a bit of distortion. Notice changes. I M is crank up the drawing of it. Now it's getting a little bit CRC, which are going to backoff the main volume. Okay, really changes the texture of the sound that say, this is boy pulls up. That's what has led before. And then without loops you can change that if you want, but actually sounds a bit lower. Okay, now let's give it a bit of movement, much like with a pad, we're just going to add the flanger. You just back off the mix, but leave the other settings the same. And again with the phases same thing. Now ready there anything that's missing is reverb. And we want this to be nicely in the background. This is not supposed to be a 3D upfront effects. It just wants to add a little bit of sort of rhythmic energy to the truck or musical rhythmic energy. Say something like That sounds really lovely. Again, I'm just going to back that off slightly. And of course, what we can do later is automate the cutoff if we want. For now, we'll just leave it somewhere down here as well. All right, so that's how you make the arpeggiated sound. Now sometimes when we rebuild the sounds, I can sort of come out slightly different to how the original sound. So let's just load up the original presets. Make sure that we are actually in the Bhopal is how we are always exactly the same as just the color. There we go. That's the AP designed. One difference between this and the one that we just made as I forgot to add EQ to it. So in this one we've got EQ and we just got a low cut. So literally just activate the hue, change the low band from a low shelf to a low cut. And that's what we've done just to remove some of the base frequencies that Paul this so it doesn't conflict with the rest of the truck. I see anything. Right. Thus, if this hasn't, thank you very much for watching, see you in the next one.